Leonard Chess is widely known as the co-founder of Chess Records and as a producer who was tremendously influential in the development of popular music; fewer people know that for one recording session he took over the drum set.
When Muddy Waters and his sidemen were recording for him on 11 July 1951, Waters later recalled, “my drummer couldn’t get the beat on She moves me. The verse was too long.”
“You know, it says…‘She shook her finger in a blind man’s face, he say Once I was blind but now I see/She moves me, man…’ My drummer wanted to play a turnaround there; I had to go another six or eight bars to get it turned around…he couldn’t hold it there to save his damn life.”
With characteristic brusqueness, Chess dismissed the drummer and sat down at the set himself, providing a foursquare thump on the bass drum, two beats to the bar without any frills. In effect, he solved the problem of timing the turnaround by ignoring it.
This according to The story of Chess Records by John Colis (New York and London: Bloomsbury, 1999, pp. 56–57).
Today would have been Leonard Chess’s 100th birthday! Below, the recording in question.
Bee imagery has long been a prominent element in song titles and lyrics. Bumble boogie: 100 years of bee imagery in American sound recordings—A discography by William L. Schurk and B. Lee Cooper (Popular music and societyXXXIV/4 [October 2011] pp. 493–502) explores several bee themes featured in more than 200 commercial recordings released in the U.S. during the past century.
Themes cited include references to scent, terms of endearment, analogies to bee-related structures and hive-oriented treasures, allusions to romance, sexuality and reproduction, and fears of physical pain and emotional rejection. The discography features recordings released over the past ten decades either as singles (45 or 78 rpm records) or as songs compiled in albums (33⅓ rpm records) or on compact discs.
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
In 1947 Ella Fitzgerald, already an acclaimed singer of jazz standards, toured with Dizzy Gillespie, immersing herself in the new style known as bebop. Like Dizzy, Ella responded to bebop’s complex harmonies with an infallible ear, and easily translated its … Continue reading →
Gertrude “Ma” Rainey’s Prove it on me blues affirms her independence from orthodox norms by boldly celebrating her lesbianism. Rainey’s sexual involvement with women was no secret with both colleagues and audiences. The advertisement for the song (above, click to … Continue reading →
The American traditional song Go tell Aunt Rhody originated as a gavotte composed by Jean-Jacques Rousseau for his opera Le devin du village (1752). An English version of the opera was produced in London in 1766; subsequently the melody attracted … Continue reading →