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Posts Tagged ‘Howlin Wolf’

(Above: Blues legends Hubert Sumlin and James Cotton help Big Head Todd and the Monsters visit the “Killing Floor.”)

By Joel Francis
The Kansas City Star

Rock and roll tributes to the blues are hardly a novel concept, but the glossy, contemporary rock of Big Head Todd and the Monsters makes them an unexpected outfit to try such a feat.

Saturday’s concert at the Uptown was billed as “Back at the Crossroads: The Robert Johnson Centennial Concerts.” The four-piece, Colorado rock band aimed to celebrate Johnson in the months leading up to his 100th birthday in May, but this wasn’t quite the case. Johnson figured prominently in the set, but there was also a heavy dose of Chicago blues. The night was more like an exposition of the genre’s most overt influences on rock. Put another way, the first set opened with Todd Park Mohr alone onstage playing the dobro and ended less than an hour later with dueling drum solos.

Taking the stage in a dark suit and black fedora, frontman Mohr quickly put any expectations for the Monsters’ back catalog to bed, telling the one-third capacity crowd the only thing they’d be hearing was “straight, natural blues.” He was right for the most part, but an audience clamoring for “Bittersweet” – one of the band’s biggest tunes – needn’t have worried. The songs in the last third of the set sounded like typical Big Head Todd material outfitted with familiar blues lyrics.

Mohr opened with three stellar, solo acoustic numbers before being joined by Missouri native Lightnin’ Malcolm and Monsters keyboardist Jeremy Lawton. That trio, along with bass player Rob Squires who entered later, formed the core band for the night, present on nearly every number. They were augmented by drummer Cedric Burnside, grandson of the Fat Possum bluesman R.L. Burnside and Malcolm’s longtime touring partner, and Monsters drummer Brian Nevin.

The real blues cred, however, came from 79-year-old guitarist Hubert Sumlin, and 75-year-old harp man James Cotton. Sumlin’s playing can be heard on most of Howlin’ Wolf’s classic material and Cotton played on many great Muddy Waters records. Half a century later, both men were in just as fine of form today as they were in their Chess Records heyday. Sumlin’s soling was nimble and his vocal turn on “Sittin’ On Top of the World” was strong. Cotton made his harmonica moan and wail like a woman in pleasure and had so much fun during one solo that he started laughing when it was done.

Big Head Todd and the Monsters are no strangers to working with blues legends. In 1997 they worked with John Lee Hooker on a cover of his “Boom Boom” that reached the Top 40. Opinions of that track will likely frame one’s appreciation for the evening: The band either misappropriated a hero to dumb down a song or paid honest homage using their familiar idiom.

The best moments were the spare opening numbers, particularly Lightnin’ Malcolm’s duets with Cotton on “Walkin’ Blues” and “Future Blues.” Mohr really pushed himself at the mic all night and did a great job approximating the Wolf’s moans and rasp on the Chicago numbers. Cotton or Sumlin were onstage for about half of the two-hour set’s 22 songs. Their contributions were always a treat.

After the first, mostly acoustic set, the band took a 20 minute break. They returned for another hour of electric music that blurred the lines between Chicago blues, traditional bar band fare and the typical Big Head sound. Not everything worked – covers of ZZ Top’s “Jesus Just Left Chicago” and a slick arrangement that removed any sense of doom from “Last Fair Deal Gone Down” were questionable. But there was no doubt everyone onstage was having fun.

Setlist: Love in Vain; Stones In My Passway; Dry Spell; Kind-Hearted Woman Blues; If I Had Possession Over Judgment Day; Walkin’ Blues; Future Blues; Viola Lee Blues; When You Got A Good Friend; Travelling Riverside Blues. Intermission. Ramblin’ On My Mind; Preachin’ Blues (Up Jumped the Devil); Wang Dang Doodle; Sittin’ On Top of the World; Killing Floor; I Love the Life I Live, I Live the Life I Love; Jesus Just Left Chicago; Come On In My Kitchen; Last Fair Deal Gone Down. Encore: Cross Road Blues; I Believe I’ll Dust My Broom > Sweet Home Chicago.

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(Above: Jonny Lang and Aerosmith’s Brad Whitford blaze through “Fire” on March 6, 2010, at The Joint in Las Vegas.)

By Joel Francis
The Kansas City Star

The lineup for Tuesday’s Experience Hendrix concert at the Uptown Theater seemed to set up a joke: How many guitarists does it take to pay tribute to the most celebrated axeman of all time? The answer: Fourteen, including half of Los Lobos, all of Living Colour, a pair of virtuosos, a handful of bluesmen and several contemporaries.

HENDRIX_FY_031610_CGO_002F

Bass player Billy Cox met Jimi Hendrix while the two were in the Army. He is the last living musician from any of the bands Hendrix lead.

Billy Cox, the Band of Gypsys bass player and Jimi Hendrix’ last living band mate, opened the night with a heartfelt thank you and romp through “Stone Free.” Backing him on drums was Chris Layton, better known for his time backing Stevie Ray Vaughan in Double Trouble, and Ernie Isley of the Isley Brothers. The star-power of the opening lineup may have had the loaded house drooling over their guitar magazines, but they didn’t have long to revel.

Every 20 minutes or so, another pairing of musicians emerged, each seeming to emphasize a different aspect of Hendrix’ music. His rhythm and blues roots came out in Living Colour’s set, while members of Los Lobos paid tribute to his roots and Kenny Wayne Shepherd emphasized the rock star angle.

Jonny Lang’s performance of “Fire” was the first explosive moment of the night. Backed by Brad Whitford of Aerosmith and a vivacious chorus of singers, Lang’s feverish vocals and impassioned playing drove the crowd to their feet. Whitford was finally able to emerge from the long shadow of his Aerosmith band mate Joe Perry as he and Lang traded solos.

Lang’s set was followed by Kenny Wayne Shepherd’s explosive interpretation of “Voodoo Child (Slight Return).” Knowing his boss was about to burn down the fret board, singer Noah Hunt, who also sings in the Kenny Wayne Shepherd Band, abandoned the stage after completing his verses. Alone onstage, save the rhythm section of Layton and Scott Nelson, Shepherd struck about every rock star pose imaginable as he soloed endlessly to the rapture of the crowd.

Susan Tedeschi was the lone intruder into this guy’s night out. Although she wasn’t given a set of her own, each of her frequent guest appearances was inspiring. Her singing on “One Rainy Wish” added an earthy sensuality and vulnerability to Hendrix’ lyrics, and her tasty guitar solos were a welcome relief from the pyrotechnics.

The night’s two dozen songs spotlighted classic rock staples “Purple Haze,” “Foxy Lady” and “The Wind Cries Mary,” and also unearthed some deeper treasures. Cox celebrated the guitarist he met in the Army with “Message of Love,” a song he a Hendrix recorded on the “Band of Gypsys” album. Eric Johnson embraced Hendrix’ love of unusual textures with the deep cut “House Burning Down.”

Robert Randolph and Sacred Steel brought new life into “Purple Haze.” The result wasn’t too different from what Randolph’s Family Band typically serves up, but the playing was much more elastic bouncing between the trio of steel guitars. Eric Johnson enlisted three drummers to help summon the heavy, drugged feel on “Are You Experienced.” Later, Joe Satriani had no trouble coaxing alien sounds from his guitar during “Third Stone From the Sun.”

Midway through the set, guitarist emeritus Hubert Sumlin emerged to represent the pre-Hendrix guitar world. Backed by Tedeschi, and Cesar Rosas and David Hildago of Los Lobos, Sumlin showed none of his 78 years powering through “Killing Floor,” a song he originally cut with Howlin’ Wolf for Chess Records in 1966.
HENDRIX_FY_031610_CGO_001F
While all the expected heavy hitters drew big responses, some of the evening’s best moments occurred during songs Hendrix didn’t write. Robert Randolph and Sacred Steel teamed with Cox and Living Colour singer Corey Glover for a jubilant gallop through Buddy Miles’ “Them Changes.” Cox tried to end the number, but Randolph wouldn’t let it stop, motivating Glover’s fervent yelps with his riffs. Early in the night, Isley’s unaccompanied incorporation of “Amazing Grace,” mostly played with his teeth, brought back shades of Woodstock.

After every trick and novelty had been exhausted, Cox returned to the stage and closed the night with the blues staple “Red House.” When all the performers were brought out for a final bow, they extended nearly all the way across the stage. Evidently it takes a lot of bodies to fill some very big shoes.

PROGRAM
Stone Free – Billy Cox, Ernie Isley
Message To Love – Billy Cox, Ernie Isley
Manic Depression > Amazing Grace – Ernie Isley
Power of Soul – Living Colour
Crosstown Traffic – Living Colour
House Burning Down – Eric Johnson
Bold As Love – Eric Johnson
One Rainy Wish – Eric Johnson, Susan Tedeschi
Are You Experienced – Eric Johnson, Will Calhoun
Fire – Jonny Lang, Brad Whitford
The Wind Cries Mary – Jonny Lang, Brad Whitford
Spanish Castle Magic – Jonny Lang, Brad Whitford, Susan Tedeschi
I Don’t Live Today – Kenny Wayne Shepherd, Noah Hunt
Come One – Kenny Wayne Shepherd, Noah Hunt
Voodoo Chile > Voodoo Child (Slight Return) – Kenny Wayne Shepherd, Noah Hunt
Can You See Me – David Hildago, Cesar Rosas
Little Wing – David Hildago, Cesar Rosas
Killing Floor – Hubert Sumlin, David Hildago, Cesar Rosas, Susan Tedeschi
Purple Haze – Robert Randolph and Sacred Steel
Them Changes – Robert Randolph and Sacred Steel, Billy Cox, Corey Glover
Third Stone from the Sun – Joe Satriani, Corey Glover, Doug Wimbish, Will Calhoun
Foxy Lady – Joe Satriani, Living Colour
All Along the Watchtower – Joe Satriani, Living Colour
Red House – Billy Cox, Joe Satriani, Brad Whitford, Robert Randolph, Will Calhoun

Note: Except when replaced by Living Colour or Billy Cox, Chris Layton and Scott Nelson played drums and bass. The Sacred Steel is Robert Randolph, Darick Campbell and Aubrey Ghent. Living Colour is Will Calhoun, Corey Glover, Vernon Reid and Doug Wimbish.

Keep reading:

Rock Hall celebrates the 40th anniversary of Woodstock

Review: Buddy Guy

Review: Los Lobos

Review: Chickenfoot

Review: Robert Randolph and the Family Band

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bo-diddley

By Joel Francis

After last week’s three-part history of Chess Records, several readers wrote in expressing disgust that Bo Diddley was ignored in the film “Cadillac Records.”

It appears Diddley may be having the last laugh. The New York Post reported yesterday that a deal is underway with Apostle Pictures for a documentary on the late rock and roll godfather.

Margo Lewis of Talent Source, Diddley’s management company, gave the money quote:

“It’s no secret that Bo had real issues with the Chess brothers and their ‘creative accounting practices.’ It was Bo’s recollection that every time he or another performer would go into the Chess offices to ask for their royalties, they were given the keys to a new Cadillac instead. So, in that regard, at least they got the title of the movie right. Regardless, we are completely shocked that the producers would omit such a seminal figure as Bo.”

After watching other Chess stars like Chuck Berry deservedly reap the rewards for their musical innovations, it will be nice when Diddley finally gets his overdue props. Here’s hoping the new film is as good as “The Howlin’ Wolf Story.”

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Above: Buddy Guy preaches the blues via Cream, Hooker and Hendrix.

By Joel Francis

The Kansas City Star

Buddy Guy isn’t mentioned in the film “Cadillac Records” but he made a strong case for his inclusion among the Chess label’s pantheon of greats Friday night at the Uptown Theater.

After a brief introduction by his four-piece band, Guy walked onto the stage and straight into a guitar solo. When he finally tired of pulling notes from his cream-colored Stratocaster, Guy walked to the mic and began to sing. Rattling off the names of his mentors and influences – Son House, Muddy Waters, Howlin’ Wolf, and Willie Dixon – he passionately cried “they’re the ones who made the blues, tell me who’s going to fill those shoes?” It was a reverent, but rhetorical question.

Guy has no trouble whipping a crowd into a frenzy, but he can silence them just as easily by placing a finger to his lips. He stayed in a quiet mode for most of the evening, dripping a spare, creeping version of “Hoochie Coochie Man.” The classic Waters number was propelled by Guy’s expressive singing and the familiar bass line while a sprinkling of piano and smattering of guitar solos were drizzled over the top. That number worked its way into two more Waters’ tunes, “Love Her With A Feeling” and “She’s Nineteen Years Old.”

While his playing was still fiery, Guy was content to smolder for an evening. With the drums gently clicking like metronome, band played so subtly they were easily overwhelmed by conversation when the audience grew restless. The steady flow of bodies to the beer stands said the crowd wasn’t expecting so much restraint.

Likewise, Guy probably wasn’t expecting such an empty house. The Uptown’s balcony was closed off and while the floor was basically full, there were still plenty of vacant seats.

Opening act Tom Hambridge, who also produced Guy’s latest album, hopped onstage to lend vocal support to “Skin Deep.” Guy’s journey as the child of Louisiana sharecroppers to witnessing his fellow Chicagoan Barack Obama claim the presidency gives his song for racial equality extra poignancy. The soul ballad ended with the audience singing along. Bolstered by a Hammond organ, the song wasn’t quite gospel, but it felt a lot like church.

A tribute to Albert King opened with one of the mellowest readings of “I’m Going Down” of all time. The song heated up, though, when Guy jumped offstage and slowly made his way through the assembly. Feeding off the crowd’s energy, Guy devastated “Drowning On Dry Land.” Walking into the foyer, Guy unleashed the most blistering solo of the night with few witnesses around. With his guitarist and bass player swaying to a synchronized two-step on stage, Guy sauntered back into the theater and plopped down in one of its seats without missing a note. Guy’s six-string field trip ended with a passionate performance of B.B. King’s “Rock Me Baby.”

The second half of the show was essentially a mega medley of Guy’s blues heroes. Rotating from John Lee Hooker to Little Walter to Cream to a dialed-down cover of Peggy Lee’s “Fever,” Guy switched songs so often it was almost like their was a penalty for playing a number all the way through. He found a wah wah peddle and the volume switch for “Voodoo Child” and channeled James Brown for a stellar snippet of “I Go Crazy.” After nearly 90 minutes onstage, Guy closed with a bit of “Kansas City.”

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etta
Above: No, it’s not Beyonce. The wonderful Etta James during her Chess period.

By Joel Francis

As the 1960s dawned on Chess Records, label founders Leonard and Phil were at the peak of their powers. Thanks to the proselytizing of the British Invasion bands, Muddy Waters, Howlin Wolf and other blues artists were performing for the largest crowds of their careers. Chuck Berry and Bo Diddley had helped formed rock and roll, and the label had branched into more genres, including R&B, comedy, jazz and gospel.

But Leonard and Phil were still looking for new ways to stay on top of the trends and build their roster. One of their biggest signings of the decade was an immediate success. The other took more than three decades to reach his commercial potential, but stands today as the greatest living link to Chess and Chicago blues.

Etta James was born in Los Angeles to an unwed, 14-year-old mother. She was discovered at age 14 by bandleader Johnny Otis, and recorded with him for Modern Records in the late 1950s. She signed to Chess in 1960 and converted Willie Dixon’s “Spoonful” into an R&B hit. Her breakthrough came the following year with “At Last.” The gorgeous soul ballad was a bit of a departure for the label – guitars and harmonicas were replaced by a lush string orchestra. From the gritty soul of “In the Basement” and “Tell Mama” to the heartache of “I’d Rather Go Blind,” James’ versatile voice found success for the rest of the decade.

Buddy Guy showed up in Chicago in 1957 and quickly fell under the wing of Muddy Waters. Although he was known for his anarchic guitar playing onstage, the Chess brothers reigned him in on record. Primarily a session guitarist, solo singles like “The First Time I Met the Blues” barely hinted at the flamboyant style that influenced Jimi Hendrix and Stevie Ray Vaughan. Guy didn’t find true success until his 1991 comeback album “Damn Right I’ve Got the Blues” on the Silvertone label.

With the exception of Berry, who briefly recorded for Mercury in the mid-’60s before returning to Chess, and Dixon, who took a short-lived job at Vee-Jay, all of Chess’ major artists stayed with the label until its sale. By the end of the ’60s, Leonard and Phil had been looking for a way to get out of the record business and into television. When GRT made an offer of $6.5 million for all of the label’s properties, they accepted. Less than a year after selling their label, Leonard Chess was dead. Just 52 years old, the elder brother had died of a heart attack in his car less than two blocks from the Chess headquarters. He had been on his way to a meeting at WVON.

A little over twenty years after opening the Mocambo Lounge, Leonard and Phil Chess’ dream of striking it rich had come true several times over. With Leonard no longer alive, it was up to Phil and Marshall, Leonard’s son, to appease the worries from their biggest stars that the brothers had made unreasonable profits off their artists.

While many of the Chess stars were also very well off, other artists showed less financial responsibility and had very little to show for their success. In the 1970s, several Chess artists, including Waters, Wolf and Dixon sued for back royalty payments. All the lawsuits were settled confidentially out of court; the issue is still debated today. Bo Diddley was especially bitter about his treatment, telling Rolling Stone in the 1987, “My records are sold all over the world and I ain’t got a f—ing dime.” While we’ll likely never know the truth, cases of labels withholding royalties from artists are still common today. Leonard and Phil probably felt they took good care of their artists, but they also made sure to take great care of themselves at the same time.

Nearly 40 years after its sale, the legacy of Chess Records continues to burn bright. From bloozy biker bars and hole-in-the-wall BBQ juke joints to stadium tours by the Rolling Stones and samples used by rappers Nas and Chuck D, there are few corners of the English-speaking world where the impact of Chess’ artists isn’t felt. In 1977 NASA gave the label celestial influence when they placed a copy Berry’s “Johnny B. Goode” inside the Voyager space probe.

In 1964 the Rolling Stones, hot on their first tour of America, made a pilgrimage to the Chess building at 2120 S. Michigan Ave. in Chicago. Decades later, Dixon’s widow purchased the property, which serves as a Chess museum and headquarters for Willie Dixon’s Blues Heaven Foundation. Each year, tourists and musicians alike visit the building to pay homage to the Chess masters and stand in the space where so many incredible songs were captured.

Keep reading The True Story of Cadillac Records.
Part One: The Birth of Chess Records and Chicago Blues
Part Two: Chess Records and the Birth of Rock and Roll

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BoDiddleyGunslinger

Above: Musical pioneer Bo Diddley was cruelly excluded from the “Cadillac Records” story.

By Joel Francis

With Willie Dixon feeding steady hits to Muddy Waters, Howlin’ Wolf and other Chess artists, the label had become a driving force of popular taste less than a decade after it was founded. While blues were the label’s backbone, the Chess brothers had a hand in nearly every facet of African-American music – from doo-wop groups like the Moonglows and Flamingos and jazz pianists Ahmad Jamal and Ramsey Lewis to the comedy styling of Moms Mabley and sermons by Rev. C.L. Franklin, Aretha Franklin’s father. Starting in 1963, Chess even had its own Chicago radio station, WVON, Voice of the Negro, which is still on the air today.

Chess introduced the world to rock and roll in 1951 when it released Ike Turner and Jackie Brenston’s “Rocket 88.” Four years later, two new Chess artists helped rock and roll grow up in a hurry.

Chuck Berry was discovered by Muddy Waters while on vacation to St. Louis. Berry’s upbeat blues were spiked with country and given a teenage twist. Songs about work became songs about school; his love songs were less dark and more playful. Berry was a poet, capable of packing more syllables per stanza than any other singer. Consider the imagery and complexity in the familiar opening lines Berry’s legendary “Johnny B. Goode:” “Deep down in Louisiana close to New Orleans/Way back up in the woods among the evergreens.” Berry’s guitar was just as active as his mouth. His quick fingers brought the blues at twice the tempo and his athletic solos made him the first guitar hero.

If Chuck Berry’s souped-up songs took the blues to the teen market in the guise of rock and roll, Bo Diddley’s African rhythms gave them a beat everyone could dance to. Diddley was born Ellas Bates in McComb, Miss. but took the last name McDaniel from his mother’s cousin, Gussie McDaniel, with whom he moved to Chicago as a child in 1934.  Diddley’s songs were downright primitive compared to Berry’s, but no less powerful or influential. His shave-and-a-haircut beat was the backbone for many of his own hits like “Bo Diddley,” and “Who Do You Love,” and countless imitators like Johnny Otis’ “Willie and the Hand Jive” and Bruce Sprinsteen’s “She’s the One.” Diddley produced strange sounds from homemade guitars, while Jerome Green’s maracas fueled the relentless beat. Diddley and Green’s back-and-forth on “Say Man” is one of the earliest recorded raps.

The 1960s were a boon for Chess. New stars like Etta James kept the label at the top of the charts while Chuck Berry was in jail. Rock and roll may have knocked Muddy Waters and Howlin’ Wolf from their perches at the top of the charts, but their old singles found a huge white audience in England. Teenagers who bought guitars to form skiffle bands were suddenly playing Willie Dixon’s songs and ravenous for Chicago’s blues. Dixon obliged them, organizing several annual American Folk Blues Festival tours of Europe. In return, the British Invasion bands brought Chess music back to America with them, introducing white America to the music its dark-skinned brothers and sisters had been enjoying decades. Waters, Wolf and the rest of the Chess stable were suddenly pulled from the chitlin circuit to colleges, theaters and festivals.

Chess responded to the changing marketplace in several ways. Before then, most Chess releases were 45 rpm singles. Now the brothers started packaging their hits together into LP records. Decade-old Sonny Boy Williamson tracks appeared on a “Real Folk Blues” compilation designed to appeal to the hootenanny crowd. Later, classic Waters and Wolf tunes were given psychedelic updates for the Summer of Love.

Keep reading The True Story of Cadillac Records.
Part One: The Birth of Chess Records and the Chicago Blues
Part Three: The Final Days and Legacy of Chess Records

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howlin-wolf

Above: The Wolf howls.

By Joel Francis

Leonard Chess’ motivation for buying the property on South Cottage Grove in Chicago that would become the Macomba Lounge was clear: he thought it would make money.

When his brother Phil got out of the Army in 1946, he went straight to work with his brother at the club. It was located in a rough black neighborhood known for prostitution and drugs, but within four years it was a prime haunt for both musicians and patrons.

The Macomba Lounge burnt to the ground in 1950, but the Chess brothers’ back-up plan was well underway. Shortly after buying the Macomba, the brothers established Aristocrat Records as a way to record the musicians who played the lounge. Instead of having the bands show up on Cottage Grove to play, they would show up at the Aristocrat offices several blocks down the street and record.

It was a far cry from the world the Polish immigrants born Lejzor and Fiszel Czyz left. Their father was a shoemaker and the family of five lived in one large cement-floored room with no electricity, running water or heat. In the winter, the family brought their cow inside for warmth.

The timing for Aristocrat Records’ foray into “race” music couldn’t have been better. Five million African-Americans fled north to escape Jim Crow and the Ku Klux Klan in the second Great Migration. One of the emigrants was a Mississippi sharecropper who had been recorded in 1941 by Alan Lomax for the Library of Congress.

McKinely Morganfield was a hot commodity at the juke joints and house parties around Stovall plantation, but he thirsted for bigger success and escape from the cotton fields. In 1943, he moved to Chicago, but his acoustic guitar and “country” style didn’t play as well. After a couple years driving trucks during the day and playing clubs by night, he was given an electric guitar. Bolstered by his new, amplified instrument, Morganfield, better known as Muddy Waters, married his native Delta blues style with the hard, electric soul of his new hometown.

In 1948, Waters cut two songs for Aristocrat that launched his career and established the Chess brothers as players in the music business. “I Can’t Be Satisfied” and “I Feel Like Going Home” convinced Leonard and Phil the blues were the way to go, and they gradually started letting Waters bring his sidemen and other musicians in to cut sides. By the time the name of the label was changed to Chess Records in 1950, the label’s stable included harmonica king Little Walter, guitarists Robert Nighthawk and Jimmy Rodgers and bass maestro Willie Dixon.

A former boxer, Dixon was another Mississippi transplant and the architect of not only the Chess sound, but the post-World War II blues scene that continues to thrive today. Dixon was the Chess brothers’ right-hand man. While the brothers hovered around the blues scene they could only get so close. Dixon was in the scene, connected to all the major players and all the hot trends. Dixon had an ear to the track, but he forged his own path as well, writing the lion’s share of the genre’s biggest numbers: “Hoochie Coochie Man,” “My Babe,” “Little Red Rooster,” and “Spoonful.” Rare was the Chess release that didn’t feature Dixon’s bass playing, songwriting or production skills – most had all three. When the blues caught on in England in the 1960s, Dixon arranged several annual American Folk Blues Festival tours of Europe that featured many of the day’s biggest stars (many of whom, coincidentally, also recorded for Chess). Dixon once said “I am the blues.” He was not bragging.

While Phil was in Chicago recording Dixon’s songs, Leonard was on the road promoting, meeting with distributors, disc jockeys and learning the business. On one trip to Memphis, Leonard made a contact who put him in touch with Sam Phillips. Phillips hadn’t established Sun Studios yet, but his legendary ear was already glued to the ground. Phillips sent Chess his recording of Ike Turner’s song “Rocket 88” recorded by Turner with singer Jackie Brenston and some songs by Chester Burnett.

The 300-pound Burnett was better known by his stage name, Howlin’ Wolf. Yet another Mississippi escapee, Wolf moved to Memphis after his military discharge following World War II and had a radio show in West Memphis, Ark. His company on the airways included Rufus Thomas and B.B. King. Like King, Wolf cut some albums for the Bihari brothers and Modern Records, but after Phillips slipped Chess a copy of “How Many More Years” a bidding war erupted for Wolf’s music. Chess won the battle and Wolf moved to Chicago to cut records with Dixon and compete with Waters on the legendary Maxwell Street blues scene.

Keep reading The True Story of Cadillac Records.
Part Two: Chess Records and the Birth of Rock and Roll
Part Three: The Final Days and Legacy of Chess Records

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