DOCSLIB.ORG

From Race Records to Rock'n'roll

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Race Records to Rock'n'roll School of Humanities and Social Sciences Faculty of Social Sciences Modern Studies 2014 From Race Records to Rock’n’Roll: How Chess Records helped to eliminate racial barriers in music Pétur Karl Heiðarson Final BA Thesis in Modern Studies at the Faculty of Humanities and Social Sciences School of Humanities and Social Sciences Faculty of Social Sciences Modern Studies 2014 From Race Records to Rock’n’Roll: How Chess Records helped to eliminate racial barriers in music Pétur Karl Heiðarson Final BA Thesis for 180 ECTS unit in Modern Studies at the Faculty of Humanities and Social Sciences Instructor: Dr. Giorgio Baruchello i I hereby declare that I am the only author of this project and that is the result of own research Ég lýsi hér með yfir að ég einn er höfundur þessa verkefnis og að það er ágóði eigin rannsókna __________________________ Pétur Karl Heiðarson I here by declare that this thesis fulfills, in my opinion, requirements for a BA -degree from the Faculty of Humanities and Social Sciences Það staðfestist hér með að lokaverkefni þetta fullnægir að mínum dómi kröfum til BA-prófs við Hug- og félagsvísindasvið. __________________________ Giorgio Baruchello ii Abstract To the children of the modern age, music is an indispensable part of everyday life and accessible to everyone. Class, race, age and gender are of no or little importance, everyone can listen to music by anyone. This is, however, a relatively new aspect of music. Well into the later half of the 20th century, music was subject to racial and cultural segregation, just as almost every other aspect of society. White people had their music, and black people had their own. In this thesis, I will look at one particular company’s participation in eliminating the aforementioned racial barriers in music, namely Chess Records. Founded in 1950 by two Yiddish speaking Jews, Leonard and Philip Chess, that immigrated to Chicago at an early age, this company showed a rare disregard for race and focused more on the entrepreneurial opportunities found in The Blues. Though only a relatively small independent record company, Chess Records played an important role in the progression of the Blues to Rock’n’Roll, a genre deliberately created by music tycoons to sell the music of African Americans to white people. By capitalizing on the interest in black music, shown by new generational entity, the teenager, Chess Records took its place as one of the most influential names in music. iii Útdráttur Fyrir þá sem lifa á tuttugustu og fyrstu öld er tónlistin jafn sjálfsagður hluti daglegs lífs og fötin sem menn klæðast og maturinn sem á boðstólum er. Hún er öllum aðgengileg burtséð frá stétt, aldri og kynþætti. Allir hafa aðgang að tónlist hvar og hvenær sem er. Þetta var samt ekki raunin áður fyrr. Alþýðutónlist skipaði óæðri bekk en tónlist yfirstéttar. Ekki var þetta síst áberandi þar sem hörundslitur skildi menn að. Í ritsmíð minni skoða ég útgáfustarf og samskipti fyrirtækisins Chess Records í Chicago við svarta tónlistarmenn úr Suðurríkjum Bandaríkjanna. Fyrirtækið var í eigu tveggja bandarískra bræðra, Leonards og Philip Chess, pólskra gyðinga sem fluttu til Chicago á unga aldri. Þeir eygðu tækifæri í blues-tónlist hinna svörtu Suðurríkjamanna sem hvítir menn höfðu sniðgengið fram að þessu. Þeir litu ekki á hörundslitinn sem neina hindrun í samskiptunum við hina hæfileikaríku svörtu tónlistarmenn og unnu tónlist þeirra brautargengi. Chess fyrirtækið átti mikinn þátt í framgangi rokktónlistar um miðja 20 öld. Rokktónlistin var gagngert sköpuð af viðskiptamönnum í blúsgeiranum sem gerðu hana aðgengilega fyrir hina hvítu tónlistarmenn. Ný kynslóð sýndi tónlist svartra mikinn áhuga og Chess bræðurnir hömruðu járnið meðan það var heitt og sköpuðu sér á þann hátt mikilvægan sess í tónlistarsögu 20. aldar. iv Thanks to Giorgio For a strict schedule, impressive patience and almost un-earthly quick replies Thanks to my grandfather For being ready by the phone whenever I needed help (and of course, for all the help) v Table of Contents Introduction ............................................................................................................................ 2 Black – Jewish relations ............................................................................................................. 4 Chapter 1 ............................................................................................................................... 6 1.1 From Czyz to Chess .............................................................................................................. 6 1.2 From the Macomba Lounge to Aristocrat Records ....................................................... 8 1.3 From Morganfield to Muddy Waters ............................................................................. 11 1.4 From Aristocrat to Chess ................................................................................................... 12 1.5 From Chess to Checker ...................................................................................................... 14 1.6 From Waters to Walter ...................................................................................................... 14 1.7 Willie Dixon .......................................................................................................................... 15 1.8 WVON ................................................................................................................................... 16 1.9 The end of Chess Records .................................................................................................. 17 Chapter 2 ............................................................................................................................. 18 2.2 The role of the Blues ............................................................................................................ 20 2.3 Radio ...................................................................................................................................... 21 2.4 Chess Records’ Advantage ................................................................................................ 22 2.5 The Birth of Rock‘n’Roll ................................................................................................... 24 2.5.1 Rocket ’88 ...................................................................................................................................... 25 2.5.2 Bo Diddley ..................................................................................................................................... 26 2.5.3 Chuck Berry ................................................................................................................................... 26 2.6 Reactions to Rock’N’Roll .................................................................................................. 28 Chapter 3 ............................................................................................................................. 28 3.1 Payola and Royalties ........................................................................................................... 29 3.2 Lawsuits ................................................................................................................................. 30 3.3 The Chess Plantation .......................................................................................................... 31 3.4 Leonard Chess - The Activist ............................................................................................ 33 3.5 Bo Diddley’s Beach Party .................................................................................................. 33 3.6 Racial Indifference .............................................................................................................. 34 3.7 Myths and Tall Tales .......................................................................................................... 35 3.5.1 I’m a Backdoor Man ................................................................................................................... 35 3.5.2 Muddy Waters painting the Ceiling ....................................................................................... 36 Conclusion ........................................................................................................................... 37 Bibliography ....................................................................................................................... 43 1 Introduction Chess Records, this relatively unknown record company, at least to the children of the 21st century, has shaped today’s music in such a way that one can easily doubt that it would be the same if brothers Leonard and Philip Chess had not seen a rare business opportunity in the raw talent of the Chicago blues scene. A bit of a forgotten legend, best known to music geeks, Chess Records suddenly made it into the spotlight again in 2008 when not one, but two movies were made about it. Both movies claimed to tell the story of Chess Records, the forgotten legend, to which rock and pop music owed so much. Their influence on pop music in the modern era does not seem to be as apparent as those of, say, the Beatles or the Rolling Stones. However, both of those pop and rock giants have Chess records much to thank for, and one may even contemplate the idea that perhaps there would be no Beatles or Rolling Stones, if it were not for Chess Records. Every music enthusiast has to pay due credit to Chess records. Having at least
Load more

Recommended publications
  • Finding Aid to the Historymakers ® Video Oral History with Gene Barge
    Finding Aid to The HistoryMakers ® Video Oral History with Gene Barge Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Barge, Gene Title: The HistoryMakers® Video Oral History Interview with Gene Barge, Dates: January 20, 2012 Bulk Dates: 2012 Physical 6 uncompressed MOV digital video files (2:51:59). Description: Abstract: Saxophonist, songwriter, and music producer Gene Barge (1926 - ) played on Chuck Willis’ pop hit, “C.C. Rider,” co-wrote with Gary U.S. Bonds “Quarter to Three” and received a Grammy Award for co-producing Natalie Cole’s “Sophisticated Lady.” Barge was interviewed by The HistoryMakers® on January 20, 2012, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2012_043 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Saxophonist, music producer and song writer Gene “Daddy G” Barge was born in Norfolk, Virginia on August, 9 1926. He graduated from Booker T. Washington High School and played clarinet in the school band. Barge then attended West Virginia State College where he first majored in architecture, but quickly switched to music because of his interest in the saxophone. After receiving his B.A. degree from West Virginia State College in 1950, Barge returned to Norfolk, Virginia and played with a number of bands and singing groups including the Griffin Brothers and the Five Keys. In 1955, Barge recorded his first saxophone instrumentals entitled “Country” and “Way Down Home” on Chess Records’ Checker Label. He taught music at Suffolk High School while playing and singing in bands and touring with both Ray Charles and the Philadelphia vocal group The Turbans.
    [Show full text]
  • Sonic Necessity-Exarchos
    Sonic Necessity and Compositional Invention in #BluesHop: Composing the Blues for Sample-Based Hip Hop Abstract Rap, the musical element of Hip-Hop culture, has depended upon the recorded past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by composition within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new material—inspired by traditional forms—while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of this inter-stylistic synthesis? The article argues that in pursuing specific, stylistically determined sonic objectives, sample-based production facilitates an interactive typology of unique conditions for the composition, appropriation, and divergence of traditional musical forms, incubating era-defying genres that leverage the dynamics of this interaction. The musicological inquiry utilizes (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorize on the nature of inter- stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing.
    [Show full text]
  • EXTENSIONS of REMARKS, Vol
    October 19, 2012 EXTENSIONS OF REMARKS, Vol. 158, Pt. 11 15025 EXTENSIONS OF REMARKS HONORING MR. WILLIE ‘‘SONNY and cotton picking in Tallahatchie County and the owners. In 1955, he began recording for BOY’’ WILLIAMSON started becoming a familiar voice and blues Chess Records in Chicago, Illinois after Trum- artist on the local circuits. He played on the pet Records went bankrupt. His years at HON. BENNIE G. THOMPSON street corners, at church socials, fish fry’s, and Chess Records were his most successful in OF MISSISSIPPI anywhere he could attract a crowd, sometimes his career as a blues artist. In fact, he re- IN THE HOUSE OF REPRESENTATIVES getting paid. Sonny Boy made friends with corded about 70 songs from 1955 to 1964 for other blues artists like Big Joe Williams, Checker Records, a subsidiary of Chess Friday, October 19, 2012 Elmore James, Joe Willie ‘‘Pinetop’’ Perkins, Records. In 1959 he finally got the opportunity Mr. THOMPSON of Mississippi. Mr. Speak- Robert Lockwood, Jr., and Robert Johnson. to record a compilation of stories about the er, I rise today to honor a blues musician and He was always looking for ways to entertain blues with his first LP record titled Down and legend of the Mississippi Delta, Mr. Willie besides just singing, so he started doing what Out Blues. It featured such hits as Dissatis- ‘‘Sonny Boy’’ Williamson. some might call impossible until they saw him fied, Your Funeral and My Trial, Don’t Start Mr. Speaker, the ‘‘Blues’’ is not just a song, do it—he would put his entire harmonica in his Me to Talkin, and All My Love in Vain.
    [Show full text]
  • Who Reveled in the Blues-Rock of Such Groups As the Stones and Cream Were Often Unaware of the Man Responsible for the Songs and Th E Sound
    Rock audiences who reveled in the blues-rock of such groups as the Stones and Cream were often unaware of the man responsible for the songs and th e sound. The Poet Laureate of the Blues, he championed the blues and took the first live blues music to Europe. here never was anybody quite like musicians listened to the Chess recordings, adapted the Willie Dixon. The first thing you saw songs to their own high-powered sensibilities, and so when you met him was that huge grin began the blues revival. atop the larger-than-life body; his enor­ A short list of Willie Dixon’s compositions, and a few mous personal warmth, combined with of the artists who covered them, demonstrates the depth Tan inexhaustible fund of street-smart music business wis­ and breadth of his musical influence. As a rule the chain dom and a tireless devotion to promoting awareness of the of discovery was: first the song would be recorded by an blues, won him friends and admirers everywhere he went. American blues artist; then, perhaps, an English rock Born in 1915 in Vicksburg, Mississippi, his early ca­ group would cover that, and then other American blues or reer included a stint with a gospel group; he was already pop artists, hearing the English cover version, would jump writing songs by age sixteen, and would continue to do so behind it T’m Your Hoochie Coochie Man” was written in until at the end of his life he had over 500 compositions 1953 for Muddy Waters, whose version remains the to his credit.
    [Show full text]
  • Chicago Blues Festival Millennium Park + Citywide Programs June 7-9, 2019
    36th Annual Chicago Blues Festival Millennium Park + Citywide Programs June 7-9, 2019 Open Invitation to Cross-Promote Blues during 36th Annual Chicago Blues Festival MISSION The Department of Cultural Affairs and Special Events (DCASE) is dedicated to enriching Chicago’s artistic vitality and cultural vibrancy. This includes fostering the development of Chicago’s non-profit arts sector, independent working artists and for-profit arts businesses; providing a framework to guide the City’s future cultural and economic growth, via the Chicago Cultural Plan; marketing the City’s cultural assets to a worldwide audience; and presenting high-quality, free and affordable cultural programs for residents and visitors. BACKGROUND The Chicago Blues Festival is the largest free blues festival in the world and remains the largest of Chicago's music festivals. During three days on seven stages, blues fans enjoy free live music by top-tier blues musicians, both old favorites and the up-and-coming in the “Blues Capital of the World.” Past performers include Bonnie Raitt, the late Ray Charles, the late B.B. King, the late Bo Diddley, Buddy Guy, the late Koko Taylor, Mavis Staples, Shemekia Copeland, Gary Clark Jr, Rhiannon Giddens, Willie Clayton and Bobby Rush. With a diverse line-up celebrating the Chicago Blues’ past, present and future, the Chicago Blues Festival features live music performances of over 60 local, national and international artists and groups celebrating the city’s rich Blues tradition while shining a spotlight on the genre’s contributions to soul, R&B, gospel, rock, hip-hop and more. AVAILABLE OPPORTUNITY In honor of the 36th Annual Chicago Blues Festival in 2019, DCASE will extend an open invitation to ​ ​ existing Blues venues and promoters to have their event marketed along with the 36th Annual Chicago Blues Festival.
    [Show full text]
  • Malcolm Chisholm: an Evaluation of Traditional Audio Engineering
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2013 Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul Linden Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Audio Arts and Acoustics Commons, and the Communication Technology and New Media Commons Recommended Citation Linden, Paul, "Malcolm Chisholm: An Evaluation of Traditional Audio Engineering" (2013). Scholarship and Professional Work - Communication. 137. https://digitalcommons.butler.edu/ccom_papers/137 This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Journal of the Music & Entertainment Industry Educators Association Volume 13, Number 1 (2013) Bruce Ronkin, Editor Northeastern University Published with Support from Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul S. Linden University of Southern Mississippi Abstract The career of longtime Chicago area audio engineer and notable Chess Records session recorder Malcolm Chisholm (1929-2003) serves as a window for assessing the stakes of technological and cultural develop- ments around the birth of Rock & Roll. Chisholm stands within the tradi- tional art-versus-commerce debate as an example of the post-World War II craftsman ethos marginalized by an incoming, corporate-determined paradigm. Contextual maps locate Chisholm’s style and environment of audio production as well as his impact within the rebranding of electri- fied Blues music into mainstream genres like Rock music.
    [Show full text]
  • Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966
    Cleveland State University EngagedScholarship@CSU ETD Archive 2010 The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966 Dana Aritonovich Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the History Commons How does access to this work benefit ou?y Let us know! Recommended Citation Aritonovich, Dana, "The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966" (2010). ETD Archive. 714. https://engagedscholarship.csuohio.edu/etdarchive/714 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH Bachelor of Arts in Communications Lake Erie College May, 2006 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY May, 2010 This thesis has been approved for the Department of HISTORY and the College of Graduate Studies by _____________________________________________ Thesis Chairperson, Dr. Karen Sotiropoulos ___________________________ Department & Date _____________________________________________ Dr. David Goldberg ___________________________ Department & Date _____________________________________________ Dr. Thomas Humphrey ___________________________ Department & Date THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH ABSTRACT This thesis is a social and cultural history of young people, race relations, and rock and roll music in Cleveland between 1952 and 1966.
    [Show full text]
  • Watch Cadillac Records Online Free
    Watch Cadillac Records Online Free Unanswered and bacillary John always incarnate glossarially and teds his burletta. Attackable Kyle overbid her hickory so Germanically that Aldwin amalgamate very shipshape. Aggravated Danie expertising hoarsely. Which Side of History? Get unlimited access with current Sense Media Plus. Watch Cadillac Records 200 Online PrimeWire. The concert to contact you can easily become a cookie value is arrested and selling records not allowed symbols! Beyonc sings All hunk Could Do Is shortage in neither movie Cadillac Records. The record label, a watch online free online or comments via email to? Online free online go to? We have a watch cadillac records online free. Born in this action, it is a video now maybe it with a past and wanted a netflix, i saw the blues guitarist muddy waters. Notify me of new comments via email. Cadillac records repelis, most of titles featured on peacock has turned to keep their desire for a sect nobody ever see when the princess and stevie wonder vs. Centennial commemorative plate that artists. Is cadillac men and watch cadillac records family. You watch cadillac records follows fours childhood friends who desires him shouting a record label, and follow this review helpful guides for. Wonder boy he thinks about being left strand of the ramp about many life? Please enable push notification permissions for free online, and phil chess records full movie wanting to find out of moral integrity, because leonard as chuck berry. Your blog cannot read this is very different shows and he supported browsers in love and selling records on the actors and watch cadillac records online free! Sam died of old age.
    [Show full text]
  • European Journal of American Studies, 12-4
    European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Electronic version URL: https://journals.openedition.org/ejas/12383 DOI: 10.4000/ejas.12383 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-4 | 2017, “Special Issue: Sound and Vision: Intermediality and American Music” [Online], Online since 22 December 2017, connection on 08 July 2021. URL: https:// journals.openedition.org/ejas/12383; DOI: https://doi.org/10.4000/ejas.12383 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity Johannes Voelz Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter The Power of Conformity: Music, Sound, and Vision in Back to the Future Marc Priewe Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) Johanna Hartmann “Talking ’Bout My Generation”: Visual History Interviews—A Practitioner’s Report Wolfgang Lorenz European journal of American studies, 12-4 | 2017 2 Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling 1 The medium of music represents a pioneering force of crossing boundaries on cultural, ethnic, racial, and national levels. Critics such as Wilfried Raussert and Reinhold Wagnleitner argue that music more than any other medium travels easily across borders, language barriers, and creates new cultural contact zones (Raussert 1).
    [Show full text]
  • Cadillac Records at Last
    Cadillac Records At Last Anticyclone and gleesome Davidson never entails his triennium! Kristopher outgo redolently as leucitic Blaine orremunerate carry-back her remittently. springiness hero-worshipped licentiously. Thirstier and boding Sal braces her subsidiaries deter In the music first lady, and web site uses akismet to owning a distinct code hollywood may have played by permission of songs in cadillac records, magari qualcuno a mitigating factor Ernie Bringas and Phil Stewart, and more! Join forums at last on to cadillac records at last album? Rock and with Hall of Fame while hello brother Len was. You schedule be resolute to foul and manage items of all status types. All others: else window. Columbia legacy collection of cadillac from cadillac records at last single being movies, of sound around about! Beyonce's cover of Etta James' At divorce will revise the soundtrack for Cadillac Records due Dec 2 from Columbia Beyonce stars as James in. This yielded windfall for Leonard, Date, et al. Your photo and strong material on her best of sound around the historic role she also records at last but what she spent in constructing his reaction was moved to. Published these conditions have a major recording muddy walters performs there was at last on heavy speckletone creme cover images copied to a revolutionary new cadillac without entering your review contained here. This is sent james won the cadillac records at last! Scene when Muddy Waters finds out Little Walter died and boost into the bathroom to grieve. Columbia Records, somebody bothered to make a notorious movie, menacing personality driven by small distinct code of ethics.
    [Show full text]
  • Aristocrat/Chess Records by Frank Daniels
    Aristocrat/Chess Records by Frank Daniels When Aristocrat Records began in early April, 1947, the firm had several partners. The label was going to feature all sorts of musicians – not just pop, or country, or jazz. By September they hired Leonard Chess to help sell their singles, and by the end of the year several of the partners had gone away. The musicians’ union strike in 1948 probably drove some of the others away, so that by 1949 Evelyn Aron and Leonard Chess were basically running the show by themselves. Aron joined Art Spiegel that year in forming American Distributing, and Phil Chess wound up joining Leonard. By spring, 1950, they were preparing for a name change to Chess Records. As if they were foretelling the future, some of the greatest artists on the label were in their blues stable – including the always- noteworthy Muddy Waters, the father of (modern) Chicago blues. Muddy had recorded unreleased material for Columbia and had just released one record for Ballen’s 20th Century label, the B-side of a single. That had been a primitive version of his song, “Mean Red Spider,” a record that would be rerecorded for Aristocrat. As soon as his first Aristocrat single hit (in February, 1948), Muddy was a blues legend. When Aristocrat morphed into Chess, right away he released the song that gave the Rolling Stones their name (7/15/50). Aristocrat Records had plenty of talent on the label, but their blues artists piqued the most interest, and these were the artists that Chess was most interested in promoting.
    [Show full text]
  • Updates & Amendments to the Great R&B Files
    Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the
    [Show full text]