But Chess reissued it annually around Mardi Gras time and it grew into a perennial favourite. The Hawketts never made another record, but The Neville Brothers have never stopped.
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Diddley recycled it on subsequent hits, all with that watery tremolo guitar sound, and the beat lived on, adopted and adapted by Buddy Holly , Johnny Otis, The Rolling Stones , The Who , Bruce Springsteen and countless others. One chord never sounded so good.
By then, Chuck, too, had become a cultural hero. Arlene told him she understood and, by the end of this much-covered, highly-lauded Checker single, so does the listener. This classic may not have charted a version on Chess by Etta James and Harvey Fuqua did , but it remains a seminal recording, up there with the very best Chess records. Curtis composed a perfect song for her youthful soprano voice, Talty produced it and Chess agreed to take the recording nationwide.
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It rose as high as No. This recording, his first with an organ behind him, was inducted into the Blues Foundation Hall Of Fame. This hit, her biggest, reached No. The blues diminished in popularly and, by , songs like this filled the airwaves.
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It was set not in some smoky bar, but in a hand-clapping, go-go discotheque with a singalong frat-rock chorus. He was at his best on ballads, and none were better than this self-penned Chess hit. Produced by Billy Davis, arranged by Phil Wright, Stewart takes centre stage, stuttering and yelping his way from start to finish.
Despite running over six minutes, radio play forced Chess to release it as a single, and it shot to No. He worked as singer, songwriter and producer for many labels, and his Chess output included this humorous but cautionary tale about a legendary South Side Chicago street hustler who ended up worse than bad, bad Leroy Brown. They changed the name to Chess and began to focus on Chicago's emerging electric blues scene.
Through the early '70s, Chess Records pushed out gem after gem from their studios. Though they moved a few times, S.
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Michigan Ave. Reverb has launched a collection of re-recorded drum sounds and beats that emulate the iconic grooves and tones captured at S. This collection contains drum sounds modeled in the fashion, tuning, mic placement, and grooves of Fred Below, Maurice White, and Morris Jennings.
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Get the Studio Sample Sounds sample pack and listen to our audio demo of just some of the drum sounds available below. Keep reading to learn more about the drummers and techniques behind these classic Chess drum tracks.
The drum sound of Chess Records was forged by three particular musicians, who helped propel the rhythm sections during their respective tenures at the label. The first drummer to lay this blueprint was Chicago native, Fred Below. After returning home from military service, Fred Below joined Little Walter's band in , before going full-time with Chess in , and staying on through the early '60s.
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His unique "blues backbeat" style of playing incorporated the swinging shuffle of Jazz, all while staying in the pocket. The combination kept him high on the call list for many groups and sessions outside of his full-time work with Chess. Below got his drum sound in the '50s by a combination of two room mics and one spot on the kick, muffled for studio sessions, but never muffled live. He used well-tuned Ludwig , Slingerland , and, later on, Gretsch kits. The second major contributor to the Chess Records rhythm section was a Memphis-born music student at The Chicago Conservatory of Music.
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His short time at Chess was just the beginning of a highly awarded career. His mother and stepfather lived in Chicago and he made frequent trips from Tennessee to visit them. Finally, he decided to make the move to big city, while still in his teens, to attend the challenging Chicago Conservatory. While still in school, he got an opportunity to try out for Leonard and Philip.