The Chess Story 1947 - 1975: Part 1 1947 - 1956 (Disc 1 & 2)

Chess Records was an American record label based in Chicago, Illinois. It specialized in blues, R&B, soul, gospel music, early rock and roll, and occasional jazz releases.
Run by brothers Leonard and Phil Chess, the company produced and released many important singles and albums, which are now regarded as central to the rock music canon. Musician and critic Cub Koda described Chess Records as "America's greatest blues label."  The Chess Records catalogue is now owned by Universal Music Group and managed by Geffen Records.

Chess Records was based at several different locations on the south side of Chicago, Illinois, initially at two different locations on South Cottage Grove Ave.  The most famous location was 2120 S. Michigan Avenue from around 1956 to 1965, immortalized by British rock group The Rolling Stones in "2120 South Michigan Avenue", an instrumental recorded at that address during their first U.S. tour in 1964; the Stones would record at Chess Studios on two more occasions. The building is now home to Willie Dixon's Blues Heaven Foundation. In the mid-60s Chess re-located to a much larger building at 320 East 21st Street, the label's final Chicago home.

Leonard bought a stake in a record company called Aristocrat Records in 1947; in 1950, Leonard brought his brother, Phil into the operation and they became sole owners of the company, renaming it Chess Records. The first release on Chess was the 78 RPM single "My Foolish Heart" b/w "Bless You" by Gene Ammons, which was released as Chess 1425 in June 1950, and became the label's biggest hit of the year.

In 1951, the Chess brothers began an association with Sam Phillips' Memphis Recording Service. One of the most important recordings that Phillips gave to Chess was "Rocket 88" by Jackie Brenston and his Delta Cats which topped Billboard magazine's R&B Records chart and was inducted into the Grammy Hall of Fame in 1998 because of its influence as a rock and roll single. One of the most important artists that came out of Memphis was Howlin' Wolf, who stayed with the label until his death in 1976.

In 1952, the brothers also started Checker Records as an alternative label for radio play (radio stations would only play a limited number of records for any one imprint). In December 1955, they launched a jazz and pop label called Marterry (a name created from the first names of Leonard and Phil's sons Marshall and Terry). This was quickly renamed Argo Records, but the name was changed again in 1965 to Cadet Records to end confusion with an older British classical music label.

In 1953, Leonard Chess and Gene Goodman set up Arc Music BMI, a publishing company that would publish songs by many rhythm and blues artists. In the mid 1950s the Chess brothers received two doo-wop groups by Alan Freed, the Coronets and the Moonglows; the former group was not very popular but the latter achieved several crossover hits including "Sincerely", which was inducted into the Grammy Hall of Fame in 2002. Several of Chess's releases gave a writing credit to Alan Freed. During the 1950s, Leonard and Phil Chess handled most of the production. They brought in legendary producer, Ralph Bass in 1960 to handle the gospel output and some of the blues singers. Bassist and songwriter Willie Dixon was also heavily involved in organizing blues sessions for the label, and is now credited retroactively as a producer on some re-releases. During the 1960s, the company's A&R manager and chief producer for soul/R&B recordings was Roquel "Billy" Davis, who had previously worked with Motown founder Berry Gordy on songs for Jackie Wilson, Etta James, Marv Johnson and on early Motown releases.

Female fans at a Little Walter store appearance.

In 1958, Chess began producing their first LP records which included such albums as The Best of Muddy Waters, Best of Little Walter, and Bo Diddley. Chess Records was also known for its regular band of session musicians who played on most of the company's Chicago soul recordings, such as drummer Maurice White and bassist Louis Satterfield, both of whom would later shape the funk group Earth, Wind, & Fire; guitarists Pete Cosey, Gerald Sims and Phil Upchurch; pianist Leonard Caston, later a producer with Motown; and organist Sonny Thompson.

In 1969, Chess Records established a subsidiary label called Middle Earth Records in the U.K., which was distributed by Pye Records. The subsidiary specialized in Psychedelic rock and was a joint venture with the Middle Earth Club in London. The Middle Earth label released only 4 albums titles and about a dozen singles before it was closed in 1970. The company was briefly run by Marshall Chess, son of Leonard, in his position as vice-president between January and October 1969, and then as president, following its acquisition by GRT, before he went on to found Rolling Stones Records. In 1969, the Chess brothers sold the label to General Recorded Tape (GRT) for $6.5 million. In October 1969, Leonard Chess died and by 1972, the only part of Chess Records still operating in Chicago was the recording studio, Ter-Mar Studios.

Although Chess had produced many R&B number ones and major pop hits over the years, it was in 1972 that the label finally reached the top of the Billboard Hot 100 with Chuck Berry's "My Ding-A-Ling", a live recording from a concert in Manchester, England. However, this became the company's 'swansong' release. GRT had moved the label to New York City, operating it as a division of Janus Records. Under GRT, Chess effectively vanished as an important force in the recording industry. In August 1975, GRT sold what remained of Chess Records to New Jersey-based All Platinum Records.

In the early 1980s, noticing that much of the Chess catalog was unavailable, Marshall Chess was able to convince Joe and Sylvia Robinson, who ran All Platinum, to re-issue the catalog themselves under his supervision (All Platinum had been licensing selected tracks out to other companies, which ultimately resulted in the disappearance of some original master tapes). The re-issued singles and LPs sold well, but by the mid-80s, All Platinum fell into financial difficulties and the Chess master recordings were acquired by MCA Records, which itself was later merged into Universal Music imprint, Geffen Records.

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This post marks the beginning of a wonderful journey for all of us.  I'm really excited to share The Chess Story - a 3 part, 14 disc monster of a collection.  The incredible part of the "story" is also told in what it lacks, its jazz arm.  There are some jazz gems included but for the most part we are treated to everything else that Chess was involved in.

Unless you are willing to shell out some big bucks for a copy on the used market, this set has long been OOP.  For those who are fortunate enough to already own it, I encourage you to listen along with us and share your thoughts.

The set runs chronologically, in three parts.  We will kick it off from the formative years, the genesis of Chess.  Part 1 has some really wonderful music, much of which was performed by artists I have never heard of.  I will give you guys some time to listen and hopefully we can get a good chat goin. 

I worked quite hard at tagging this thing as each part has its own cover, title, etc.  I would suggest starting a folder for the entire set, and simply add the discs as you receive them.  Once they are all in your folder, the tagging will be complete and based on that.  Enjoy!!!

First the good news, which is really good: the sound on this 340-song set is about as good as one ever fantasized it could be, and that means it runs circles around any prior reissues; from the earliest Aristocrat sides by the Five Blazers and Jump Jackson & His Orchestra right up through Muddy Waters' "Going Down to Main Street," it doesn't get any better than this set. The clarity pays a lot of bonuses, beginning with the impression that it gives of various artists' instrumental prowess. In sharp contrast to the past efforts in this direction by MCA, however, the producers of this set have not emasculated the sound in the course of cleaning it up, as was the case with the Chuck Berry box, in particular. When the rock & roll era dawns at Chess as depicted on disc five, the sound is nice and dirty, just really sharp. The contents of the set are largely "limited" -- if that's the word for any 340-song collection -- to Chess' blues, R&B, rock & roll, and soul output, although Ramsey Lewis gets a nod, as does comedian Pigmeat Markham. What's more, the care lavished on the songs is virtually universal -- there was time spent getting all of it right. One wishes that the same could be said for one of the featured bonuses on this set, the CD-ROM that comprises the 15th disc (disc 14 is a pair of interviews with Phil Chess and Marshall Chess). First, there are the skimpy film clips, misspellings ("Arether Franklin") and incorrect dates. There also would have been enough room to put a complete Chess discography on the CD-ROM, rather than just the MCA reissues of Chess' material. The CDs themselves conveniently assembled in three fold-out volumes in a slipcase, but identifying individual tracks and artists means constantly referring back to the booklets glued into those volumes; additionally, it would've been nice to have had a sessionography on the songs, or at least the release dates, or even release years. This set is available only as a British import as of the spring of 2000; it is unbeatable for sound, and should be considered on that -- but only on that -- basis.  - Bruce Eder/AMG