Music: Pioneering record label founder Phil Chess dies at 95

This comes on the heels of yesterday's post on the re-emergence of Chuck Berry at 90, with a new record.

-Chicago Sun-Times

Phil Chess, co-founder of Chicago’s legendary Chess Records, a label credited with helping to invent rock ‘n’ roll, has died in Tucson, Arizona, at 95.

Mr. Chess and his brother Leonard Chess arrived in America as little boys, two Jewish immigrant kids from Poland. They started Chess in 1950, recording Muddy Waters, Etta James, Howlin’ Wolf, Buddy Guy and other top musicians who spread the gospel of the blues. Teens in England and around the world heard the so-called “race music” Chess helped popularize, and the cross-pollination helped birth rock.

As Waters once put it, “The blues had a baby, and they named it rock ‘n’ roll.”

Chess could be described as the midwife. In 1951, the label released what some consider the first rock record: “Rocket ’88,” by Jackie Brenston and His Delta Cats, including a young Ike Turner.

In 1977, a Chess record went to outer space. The Voyager mission carried recordings including Chuck Berry’s “Johnny B. Goode.”

Mr. Chess died Tuesday evening at his 30-acre ranch in Tucson, said his daughter, Pam. For decades, he kept in touch with many Chess artists, she said. “He talked to B.B. King all the time on the phone. He ran into Ramsey Lewis six or so years ago in San Diego,” she said. “He talked to Chuck Berry.”

The music scene would have been very different without him and his brother, Chicago bluesman and club owner Buddy Guy said Wednesday.

The Chess Records story also was dramatized in the 2008 movie “Cadillac Records,” featuring Beyonce, Adrien Brody, Mos Def and Jeffrey Wright.

Before founding the label, the Chess brothers owned the Macomba Lounge at 39th and Cottage Grove, said Phil Chess’ son, Terry. When one of the club’s performers was asked by someone else to record their music, “My father and my uncle looked at each other and said, ‘Why don’t we do it?’ ” Terry Chess said.

Neither played an instrument or knew much about music. “The Chess Brothers didn’t literally make the music in the studio, but they got it out the door and reaped the rewards,” Nadine Cohodas wrote in a book about Chess, “Spinning Blues Into Gold.”

Blues and R&B classics poured out of Chess, performed by countless artists who put their own spin on the songs. While at Chess, Willie Dixon wrote “(I’m Your) Hoochie Coochie Man” for Waters, as well as “You Need Love.”

Music: Chuck Berry says Happy 90th to himself with new album

.F orget all those upstarts who just spent the last two weekends at Desert Trip in Indio: In conjunction with his 90th birthday today, rock ’n’ roll pioneer Chuck Berry has announced the release next year of his first new album in nearly 40 years.Titled “Chuck,” the album consists largely of new songs written and produced by the man considered one of the founding fathers of rock music.

“It is a great honor to be a part of this record and the broader legacy of Chuck Berry, said Paul Roper, president of Dualtone Records, which plans to release the album at an unspecified date next year. “This body of work stands with the best of his career and will further cement Chuck as one of the greatest icons of rock and roll.
 
In a statement, Berry said, “This record is dedicated to my beloved Toddy,” the nickname for his wife of 68 years, Themetta Berry.  “My darlin’ I’m growing old! I’ve worked on this record for a long time. Now I can hang up my shoes!”
He is backed for the album by two of his children-- guitarist Charles Berry Jr. and harmonica player Ingrid Berry. Other players include bassist Jimmy Marsala, pianist Robert Lohr and drummer Keith Robinson

Auto: the "King's Bimmer" comes back

The glittering comeback is now following one of the most spectacular classic-car discoveries of recent times. The BMW 507 was driven by US musician Elvis Presley, famous already at that time as the “King of Rock’n’Roll”, while he was doing his military service in Germany. After that it disappeared for nearly 50 years and was believed to have been lost before returning to the limelight. After almost two years of exacting restoration work, BMW Group Classic is presenting the roadster for the first time in a public arena. Restored to its original condition, it will be exhibited on 21 August 2016 at the Concours d’Elegance in Pebble Beach, California. The BMW 507 with chassis number 70079 will be on view for visitors to the popular classic car show exactly as it was when soldier Elvis Presley took delivery of the car on 20 December 1958: with paintwork finished in Feather White, the 150 hp V8 aluminium engine under the bonnet, centre-lock rims, black-and-white interior and a Becker Mexico radio.

“The opportunity to bring back the BMW 507 owned by the King of Rock’n’Roll to us here in Munich for purposes of restoration in accordance with the wishes of the previous owner, Jack Castor, was a dream come true for all those involved,” commented Ulrich Knieps, Head of BMW Group Classic. “This was an exceptionally fascinating project. The outcome is not simply a source of great pride to us. Jack would undoubtedly have been delighted by the outcome.” In the summer of 2014, the exhibition of the unrestored discovery at the BMW Museum generated a great deal of excitement among classic car enthusiasts, but it also threw up questions: Was this really once Elvis’ BMW 507? And will it even be possible to transform this roadster back into a jewel of the 1950s?

From “Return to Sender” into “It’s Now or Never”.

The condition of the two-seater really was a cause for concern. Although the original body parts and other components were virtually all present and intact, the roadster had lost its engine and gearbox. The rear axle was a “replacement part” of unknown origin, rust was eating away the floor assembly, the seats were worn and there was no instrument panel. However, the fascination of a rare and beguilingly beautiful automobile outweighed all the inadequacies and deficiencies, augmented by the memory of Elvis Presley and his greatest hits. While the roadster came back to Munich under the slogan of “Return to Sender”, the solution was undoubtedly “It’s Now or Never”. A project managed by BMW Group Classic succeeded in restoring the automobile. In-house experts and external specialists joined forces to carry out the work and the result defined new benchmarks for the restoration of a BMW 507.

Looking back on the process, the story of Elvis’ BMW 507 and its restoration is pure Rock’n’Roll: as captivating as the swinging hips of the “King”, energy sapping, an emotional roller-coaster, and full of surprising twists and turns. This is not simply a tale about the young GI Elvis Presley. It is also about the experienced “hillclimb champion” Hans Stuck, kissable lips daubed on white paint, a retired space engineer and a warehouse for pumpkins, a Chevy engine that was much too big, rubberised coconut mats and door handles printed in a 3D process. And the story already began three years before the “King” started military service with the US Army stationed in Hesse, Southern Germany.

Myth among rarities: The BMW 507 of the “King”.

The BMW 507 has always been one of the most exclusive and sought-after rarities in the model history of the brand with just 254 automobiles being produced between 1955 and 1959. Right after its world premiere at the Frankfurt International Motor Show in 1955, the two-seater penned by designer Albrecht Graf Goertz was hailed in the press as the “Dream from the Isar”. Celebrity owners like Alain Delon, Ursula Andress and John Surtees contributed to the image of the roadster as a status symbol. However, no other automobile of this model is shrouded in mythology like the BMW 507 once owned by Elvis Presley. This particular roadster was believed to have been lost for almost five decades. In fact, there was not even certainty about the chassis number of the car driven by the “King”. There were also doubts about whether Elvis Presley had ever transported the car back to the USA after he finished his military service in Germany, and nobody knew anything about the subsequent ownership of the car.

All these puzzles have now been solved thanks to the experts at the BMW Group Classic Archives and American journalist Jackie Jouret, who works for “Bimmer” magazine in California. In 2006, she was already searching through contemporary reports for Elvis’ BMW 507 and relevant literature going into the history of this model. During the course of her work, she uncovered an essential detail. Various sources highlighted the fact that the BMW 507 delivered to Elvis Presley in Germany was not a brand new automobile but had previously been used by racing driver Hans Stuck. Between May and August 1958, the racing driver known as the “Hillclimb Champion” won a number of hillclimbs in Germany, Austria and Switzerland – in a white BMW 507 with chassis number 70079 and registration plate M–JX 800. It is also a known fact verified by photographs that this roadster rolled off the assembly line on 13 September 1957. A few days later, it was exhibited at the Frankfurt International Motor Show and repeatedly used for test drives by the press. As early as October 1957, Hans Stuck presented the car at the London Motor Show and then drove the roadster through Belgium, where he presented it to King Baudouin, before motoring down to the Turin Motor Show. And as if that were not enough, in the summer of 1958, Stuck’s BMW 507 won the automobile beauty competition in Wiesbaden and then played a role in the Bavaria film studio for the feature film “Hula-Hopp Conny” with Cornelia Froboess and Rudolf Vogel.

This vehicle had been carefully serviced at BMW after every race, the engine had been upgraded and a new gearbox fitted when it ended up with a dealer in Frankfurt in the autumn of 1958. The young US soldier Presley was 23 at the time, and he came along and took it out on a test drive for a spin. The “King” was immediately impressed by it and decided to buy the car. Photos taken at the time show that export licence plates had already been fitted to the BMW 507. Later on it was given a registration from the US military that changed every year. This was part of the reason why subsequent identification of the vehicle proved to be complicated later on. The experts from the BMW Group Classic Archives were only absolutely certain about its provenance when they came across the insurance proposal from December 1958 which contained the chassis number 70079 alongside registration of the keeper of the vehicle as Elvis Aaron Presley.

Pampered in Germany, radically modified in the USA.

Elvis Presley used the BMW 507 to drive between his home in Bad Nauheim and the US Army Base in Friedberg. His female fans always kept a close eye on him and he was often mobbed by them. The paintwork of the roadster was frequently daubed with messages of love painted in lipstick. These signs of adoration were by no means unusual for a rock star but they were an embarrassment to Presley as a young US soldier. A new livery in Red for the vehicle solved the problem.

In March 1960, Elvis Presley ended his military service in Germany. Back on American highways, he must have abandoned sheer driving pleasure in an open-top BMW since a few months later he traded in the red roadster bearing chassis number 70079 with a Chrysler dealer in New York. The dealer in turn sold the car for the ridiculously low price from today’s perspective of 4 500 dollars to radio moderator Tommy Charles. Charles took the automobile to his home town of Birmingham in the state of Alabama where a very successful racing career began, although this move was very questionable when it came to the issue of authenticity. The BMW 507 was fitted with a Chevrolet engine in preparation for action on the race track. This took up so much space that parts of the front frame carrier had to be cut out. The gearbox and the rear axle, and the instruments in the cockpit were replaced. Charles won a race in Daytona Beach/Florida with the radically modified roadster and he lined up on the starting grid in several more competitions before selling the vehicle in the course of 1963.

Two more changes of ownership followed and the BMW 507 then went to California. Space engineer Jack Castor acquired the car in 1968 and he used it occasionally as a runabout for everyday use before deciding to put the car into storage for a subsequent restoration. Castor was a passionate collector of historic bicycles and over the years he also amassed an impressive collection of classic automobiles in Half Moon Bay to the south of San Francisco. He got involved with several classic car clubs and delved into the history of the vehicles he had acquired.

The “Holy Grail” in the pumpkin warehouse.

Castor also put together a comprehensive dossier on his BMW 507. Meanwhile, the engineer had gone into retirement and one day he happened to see the article in “Bimmer” magazine. Castor wrote to the author, told her about the BMW 507 with chassis number 70079 that he owned and invited her over to look at the vehicle. He was aware that he was the owner of the racing car driven by “hillclimb champion” Hans Stuck, but up to then he had only been able to speculate about a potential connection with Elvis. However, Jackie Jouret was absolutely certain about this issue. She accompanied Jack Castor to a warehouse for pumpkins where the red BMW 507 was stored alongside other venerable vehicles. “Jack had tied down its engine bonnet with ropes,” recalled the journalist when she looked back on the moment of discovery. “It took some time until we actually got the engine compartment open and identified the stamped chassis number: 70079, the Holy Grail among BMW numbers.”

Jack Castor had already collected a large number of parts carefully stowed in boxes for the planned restoration of the roadster to its original condition. What he lacked was an appropriate engine and the necessary time to see the project through. However, things then started to happen. Jackie Jouret set up the contact with BMW Group Classic where new information about the identity of the BMW 507 used by Elvis Presley in Germany was being gathered. This allowed the facts that had been researched in the USA to be confirmed.

Jack Castor was not interested in making a fast buck out of the unexpected additional fame of his BMW 507. However, the contact with BMW Group Classic was strengthened. After several years and a number of discussions with the experts for restoring classic cars at BMW Group Classic, Klaus Kutscher and Axel Klinger-Köhnlein, an agreement was reached. Alongside the purchase of the vehicle by BMW Group Classic, it also included the authentic restoration of the car along the lines envisaged by Castor.

By container to the museum – and from there into the workshop.

The time had come in the spring of 2014. The BMW 507 was shipped to Germany in a container, together with the spare parts collected by Castor. The first stop in Munich was the BMW Museum where the roadster was presented to an admiring audience in the special exhibition “Elvis’ BMW 507 – lost and found”. Work then began on restoration in the workshop of BMW Group Classic.

As was usual for projects of this nature, phase one was primarily destructive in nature. The vehicle was completely dismantled, a process which in this special case took an entire week, rather than the two days that had been originally planned. Initially, the aluminium body was separated from the floor assembly made of sheet steel. This was the only way of retaining as much of the original material as possible. The paint was then removed from the floor assembly in an acid bath and from the body in an alkaline bath. The engine had already been removed and the remnants of the interior that remained had been set aside.

A lot of components had to be remanufactured from scratch because the stocks of original parts for the BMW 507 are limited even at BMW Group Classic. Traditional craftsmanship in the style of the 1950s was melded with high-tech production procedures of the modern world. The instrument panel was newly cast on the basis of the original. The leather upholstery was created to precisely match the pattern shown in old photographs and catalogues. When the seats were reconstructed, it proved possible to use the original steel subframe for the seats after all the rust had carefully been removed. A rubberised coconut mat was then drawn over the steel springs. This natural material was already being used in the 1950s for series production of the BMW 507, alongside the overlaid felt and linen layers to make the seats as comfortable as possible. Window winders and door handles were remanufactured in an advanced, modern 3D printing process based on the original dimensions. After producing a digital data set by three-dimensional scan of the original part, a facsimile was generated with the help of additive manufacturing and mirror finished afterwards. By contrast, the rubber seal for the tank cover was reproduced in a conventional manufacturing procedure. Since this component like many others in the BMW 507 had fallen prey to the ravages of time, a small series was produced. This means that roadster users are now able to source this spare part in the parts shop of BMW Group Classic.

The BMW 507 makes a comeback – it’s just like the car Hans Stuck drove, the one Elvis purchased, and this is the way Jack Castor wanted it.

The engine for Elvis’ BMW 507 was completely rebuilt from spare parts. The 3.2 litre V8 engine was reconditioned precisely in conformity with the original specifications of the BMW 507, but it was not given an engine number on account of the unavoidable but otherwise unusual use of old and new components. The front frame carrier, which had been cut down at an early stage, also had to be reproduced in its original geometry and integrated in the floor assembly. The wooden nailing strip for fixing the soft top in place was also reproduced using materials and processing methods in keeping with the 1950s.

Maximum authenticity was also the objective in painting the vehicle. The BMW 507 is now resplendent once again in Feather White. The primer coat, the filler and the top coat were not applied by the methods that are commonplace today. Rather, they were implemented in a procedure that corresponds to the technology in use some 60 years ago. This enabled the excessive colour brilliance to be avoided which is considered desirable nowadays but is inappropriate for classic cars.

Similar to the reconstruction of the V8 engine and the use of true-to-original parts and production procedures, the selection of paintwork also corresponds precisely to the conditions defined by Jack Castor. Right from the start, he wanted to restore the roadster to the original condition it was supplied in back in 1958. However, his aspiration to be able to see the BMW 507 through the eyes of the “King” remained unfulfilled. Jack Castor passed away at the age of 77 in November 2014. We will therefore remember him at Pebble Beach. The BMW 507 will be presented there for the first time not simply as the automobile of the “King”, but also as the legacy of Jack Castor and a masterpiece of BMW Group Classic.

Music: Black Curtains, Purple Rain, RIP Prince, 1958-2016

-from Fast Company

Prince died today. That alone probably has you digging through your record collection and/or iTunes playlists to tear through Sign o' the Times andAround the World in a Day—and all number of tributes to the importance of Prince as an icon have already been crafted in response to the Artist’s death. And while we’re certainly sitting at our keyboards having just changed clothes so we’re dressed head-to-toe in purple and figuring out where exactly to get our "Love Symbol" tattoos as we reflect on what having drawn breath at the same time, on the same planet, as one of the most vital and transformative pop culture figures in memory—we’re also remembering that in addition to what he meant as a personality, he was also maybe the best guitar player to ever live.

Photo: Richard E. Aaron, Redferns, Getty Images

That’s tall praise, of course, but don’t take our word for it: Eric Clapton, who would certainly be in the discussion for that title, bestowed it upon him in an interview (the sourcing of which may be apocryphal, but what kind of monster would bring that up today, of all days), when, after being asked the question, "What’s it like to be the best guitar player alive," he responded, "I don’t know, ask Prince." His prowess on the guitar is legendary. Sheryl Crow, who collaborated with him on the Rave Un2 The Joy Fantastic album in the late ’90’s, told Billboard that "I’ve heard him play piano like Chick Corea or Herbie Hancock, move over to bass and play like Larry Graham, then play guitar like Jimi Hendrix or Buddy Guy."

But the definitive proof, as they say, is in the pudding, and holy cow, what pudding it is. (Or whatever metaphor is appropriate—we’re in mourning.) Prince’s performance at the Rock and Roll Hall of Fame in 2004 might be the definitive confirmation of his absolute brilliance as a guitar player. While inducting George Harrison, he participated in a supergroup including Tom Petty, Steve Winwood, and Jeff Lynne, and emerged to transform the rendition of "While My Guitar Gently" from a nice tribute to the Beatle into a transcendent, utterly magical experience with a solo that stretched well over two minutes and made even the legendary talent on the stage with him seem like they were lucky to just be in the same room as the guy.

Prince didn’t just drop in on the performances of his fellow rock heroes like a guitar-slinging angel in order to demonstrate his virtuosity—but even at his own headline performances, he was fundamentally collaborative. That was on display in 2007, when he played the Super Bowl halftime show in Miami. The entire performance was epic in ways that befit the legend, but which couldn’t possibly be planned—Prince emerged to a downpour unprecedented in Super Bowl history (production designer Bruce Rodgers recalls that, when asked if he was okay to play in the rain, Prince asked "Can you make it rain harder?") and performed a stunning medley. That medley didn’t just include his own hits, though—he also played a version of "All Along The Watchtower" that took the bluesiness of Hendrix and turned it into something that all of America wanted to hear, then seemingly randomly picked then-current Foo Fighters hit "The Best of You" to play, with a solo that presumably made Dave Grohl feel about two feet tall. Still, the performance of "Purple Rain" that night probably contained the most compelling Super Bowl halftime show moment in history (sorry, Left Shark)—when, as a marching band decked out in neon surrounded him, he asked the world, "Can I play this guitar?" then began to shred as his silhouette was blown up and projected to an audience of almost a hundred thousand people in the stadium, and tens of millions around the world.

Those latter-day Prince moments display plenty of Prince’s talent, but it’s not something he waited to unveil until the 2000s. Those were massive cultural moments that Prince somehow made bigger with his guitar and his very presence—but for pete’s sake, check out this display from a January 1982 show at the Capitol Theatre during "Why You Wanna Treat Me So Bad?" Prince keeps the guitar behind his back for the first three minutes of the song, then slings it forward at about the 3:15 mark, blisters through the song’s next minute like he’s possessed—down on his knees, back to back with his backing band, and utterly captivating.

Basically going through any live Prince performance will find you similar moments, and his own recorded discography will turn up plenty more. Dude opened "When Doves Cry" with a 10-second guitar solo before the track even really gets started, and the recorded version of everything from "I Could Never Take The Place Of Your Man" to friggin’ "Batdance" has at least one "how the hell can anybody be that good?" guitar moment in it. (None of those recordings are available on YouTube, Spotify, or other streaming services, because Prince declared the Internet "over" in 2010, and was able to create a reality for himself where that was true.) His collection of guitars was legendary, from the "cloud guitar" to the surprisingly large number of guitars built to resemble his Love Symbol. While the world lost an iconic cultural figure who taught us a lot about different ways to perform masculinity, the importance of being funky, and how to be a sexy motherfucker—it also lost one of the finest musicians to pick up a guitar, and a creative force we’re unlikely to see paralleled in the near future.

Music: In Praise of "Black Messiah"

Beck or no Beck, the record that everybody’s talking about is still D’Angelo’s “Black Messiah,” which came out in December to an eardrum-popping chorus of acclaim. And rightly so: It’s a thickly layered, conceptually rich synthesis of R&B, hip-hop, pop, jazz and classical music that’s got the critics hustling for relevant reference points. Listeners with very long memories have compared it to Marvin Gaye’s “What’s Going On” and Sly and the Family Stone’s “There’s a Riot Goin’ On,” both of which turn 44 this year. For my part, I found myself thinking of an even older album, the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” which fused a similarly dissimilar assortment of musical styles and techniques into a convincing whole. But no matter what “Black Messiah” reminds you of—if anything—it’s the most exciting pop-music album to come along in years.

-Terry Teachout, Wall Street Journal

21st Century Know-it-all: Scott Pilgrim knows everything but when to stop

This is the kind of film that this writer would have gladly waited in line, even killed for 20 years ago (there, I gave my age away - big deal, its in the profile anyway).

Scott Pilgrim vs the World is a wise-ass movie by a wise-ass director and co-writer(Edgar Wright) that I would have heralded as sheer brilliance and worshipfully praised, in much the same manner that the graphic novel base (by Brian O' Malley) is being venerated.

But instead, its just another mildly enjoyable graphic novel adaptation made annoying by a never-ending ending (not to mention that gay kissing scene). Michael Cera and Mary Elizabeth Winstead prove up to the lead role demands, but its Ellen Wong as the spurned Knives Chau that steals the show - despite a winning turn by Jason Scwartzman as the final of the 7 evil ex-boyfriends that the lead character has to defeat in order to get the girl of his dreams.

Wright throws everything at the viewer, visually and sonically, but the proverbial kitchen sink (did I see a sink get smashed somewhere?) but its likely that you will have made up your mind one way or the other long before the final credits eventually roll.