Marshall Chess on the Legacy of Chess Records

by admin  28th Sep 2022 Comments [0]

By Harvey Kubernik


Veteran music business legend Marshall Chess is the son of Leonard and nephew of Phil Chess, the dynamic duo who founded the monumental Chicago-based blues label.

After departing from Chess Records in 1969, Marshall formed and served as President of Rolling Stone Records for seven years. He helped create the Rolling Stones’ famous tongue and lip logo and was involved as Executive Producer on seven Rolling Stone #1 albums during the 1970s.

Marshall Chess is prominently featured and interviewed in the new Born In Chicago blues documentary that will screen on November 21st in downtown Los Angeles at the Grammy Museum.

Directed by Bob Sarles and John Anderson, and narrated by Dan Aykroyd, Born In Chicago is a soulful documentary film that chronicles a uniquely musical passing of the torch. It’s the story of first generation blues performers who had made their way to Chicago from the Mississippi Delta and their ardent and unexpected followers—middle class kids who followed the evocative music to smoky clubs deep in Chicago’s ghettos. Passed down from musician to musician, the Chicago blues transcended the color lines of the 1960s as young, white Chicago music apprenticed themselves to legends such as Muddy Waters and Howlin’ Wolf.

“The Chess brothers and their record labels were instrumental in popularizing the blues music of Chicago’s South Side,” emailed Born In Chicago co-director and co-producer Bob Sarles in summer 2022. Marshall Chess has kept that flame burning to the present day. His story about the Rolling Stones’ visit to the Chess Records studio is a highly entertaining part of our documentary.”

Marshall Chess was born in Chicago, Illinois on March 13, 1942, and was raised during the heyday of the independent record business. Leonard Chess had a piece of a record company named Aristocrat Records in 1947, and later in 1950 he brought his brother Phil into the fold and the brothers assumed sole ownership of the company and renamed it Chess Records. They also operated a club on the South side of Chicago, the Macomba Lounge.

Marshall “started” in the family business at age seven accompanying his father Leonard on radio station visits. For sixteen years Marshall worked with his dad and his uncle Phil, doing everything from pressing records, applying shrink wrap and loading trucks to producing over 100 Chess Records projects, eventually heading up the label as President after the GRT acquisition in 1969.

Otis Rush performs with Little Bobby at Pepper’s Lounge in Chicago, IL – December 17, 1963 (Photo by: Ray Flerlage/Cache Agency)

Over years the monumental Chess catalog has had various homes, including a 1975 sale to All Platinum Records, and eventually a couple of decades ago the Chess master tapes were purchased by MCA Records, now Universal Music Enterprises.

Chess Records showcased blues, rock ‘n’ roll, R&B, soul, jazz and comedy: Muddy Waters, Willie Dixon, Howlin’ Wolf, Bo Diddley, Chuck Berry, Little Walter, Buddy Guy, Jimmy Rogers, Sonny Boy Williamson II and Little Milton. Maurice White and Charles Stepney both learned their craft at the label. [Chicago-based label International Anthem in September 2022 has just issued “Step on Step,” a compilation of Stepney demos and experimental music.]  The label issued seminal efforts by Etta James, the Dells, Billy Stewart, and Fontella Bass. The Miracles, Four Tops, Bobby Charles and Dale Hawkins cut singles for Chess.

In addition, there was a jazz division with Gene Ammons, Ahmad Jamal and the Ramsey Lewis Trio. Argo, the jazz arm of Chess released material by Art Blakey & the Jazz Messengers, James Moody, Clark Terry, Zoot Sims, Kenny Burrell, the Art Farmer-Benny Golson Jazztet (with the debut recording of pianist McCoy Tyner), Ray Bryant, Roland Kirk, Oliver Nelson, Jack McDuff, Illinois Jacquet and John Klemmer.

In the late 1960s Marshall created his own record label Cadet Concept, a division of Chess Records. He created and produced the Rotary Connection, which became the springboard for vocalist Minnie Riperton’s career. He signed John Klemmer and created a new format which was heralded as the first jazz fusion album, Blowin’ Gold. Marshall also produced the blues albums Electric Mud and After the Rain. The Chess comedy division offered long players by Moms Mabley, George Kirby, Pigmeat Markham and Slappy White.

Marshall has produced three films. The Legend Of Bo Diddley, Ladies and Gentlemen, The Rolling Stones, and the rarely glimpsed 1972 Rolling Stones’ Robert Frank-directed tour documentary Cocksucker Blues. Chess is also a revealing interview subject in Robert Greenfield’s 2006 captivating book Exile On Main Street: A Season In Hell With The Rolling Stones.

In 2004, Marshall was featured in a movie project collaboration titled Godfathers and Son’s directed by Marc Levin, for the PBS-TV series The Blues, produced by Martin Scorsese. Chess produced a hip-hop version of the classic Chess track “Mannish Boy” with rappers Chuck D and Common recording with members of the original Muddy Waters’ Electric Mud band.

In 2008, Marshall concluded a DJ stint hosting a weekly blues music program on Sirius Satellite Radio. His Chess Records Hour debuted in November 2006 and aired for 81 shows.

During 2009, I interviewed Marshall Chess in West Hollywood, California at the Sunset Marquis Hotel, and in 2010 I spoke with him by telephone from his office in New York City. Chess spent a few hours with me discussing Chess Records, the label’s legacy, his personal relationship with the company’s artists, and working with the Rolling Stones.


Born In Chicago documentary trailer:


Can you explain how Chess Records worked? Can you even compare or contrast Leonard and Phil Chess? How could your uncle and father know so much about music, the blues, and bringing it to the world? They were Polish immigrants.


Because they were very bright people. They worked in black businesses. My dad had a liquor store. I sat around my uncle and asked, ‘everyone always asks me about music, and how did Chess get into music.’ And, my uncle’s vision is this. That in Poland, in the small Jewish ghetto town, there was no music. Then some guy got a windup victrola. And the whole fuckin’ village would stand underneath this guy’s window when he played it. That was the first recorded music they heard. They come to America.

 My grandfather, who was here seven years prior in Chicago brings them. He had a scrap metal yard. Across the street from it, on the west side of Chicago, was a black gospel church. My uncle said that my dad and him were kids, and after work they would hear the bass drum and gospel singing with a piano, they would be fascinated. They would stand there and get punished for being late, ‘cause they were listening to the black music. That’s where it began to me.

 For some reason it affected them. And then, when my uncle went into the army, my dad, I think because he was an immigrant got him near Maxwell Street, the black neighborhood. No prejudice. That’s just it. No blacks in Poland. You don’t get raised being prejudiced in Europe. You hate Nazis, but no blacks to hate. So, they had no problem, and they saw that there was this giant influx of blacks in Chicago, and they had money, and they were working. And my dad started with a liquor store after he worked in a shoe shop. Berger’s shoes. Then the liquor store, where he had a jukebox, and he was there 15-18 hours a day hearing blues. I watched the jukeboxes being serviced. They used to be controlled by gangsters of Chicago. They’d come and pick ‘em up from us. The Italian gangsters.


Can you offer some reflections about the Chess studio?


We had fabulous engineers. Ron Malo and Malcolm Chism. They were the two best engineers. Ron came from Detroit. He had worked on Motown studios and he was a big part. Before Ron, we had these two Weiner brothers, who actually built the studio. It was a basic classic studio design, with the echo chamber in the basement, very small control room.

 One of the secrets of the Chess studio was not the studio but our mastering. We had a little mastering room with a lathe. Eventually we had a Neumann lathe. The first one was an American one. We did our own mastering and had these Electrovoice speakers on the wall.

 The great part about that room that when it sounded right in that mastering room it would pop off the radio. That’s what it was all about. And the Rolling Stones, the Yardbirds, later Fleetwood Mac had to make visits there.


The Chess sonic delights are amazing.


The best explanation is, this may sound way out. It contains magic. The most apparent magic that we can see or experience is music. Let’s face it. Music changes the way you feel. That’s magical. Chess Records for some reason was a magnet for amazing artistry and all these magicians came to Chess. And we were able to capture it. And it’s something that can be experienced through audio. The music has stood up without a cinematic aspect like video. And the method of recording.

As I grew older, and was a person of the hippie generation, and discovered things like meditation, psychedelic drugs, Buddhism. I realized what was happening in the early Chess studio was like a high Buddhist monk meditation manager. Because when you recorded in mono and two-track with 5 or 6 players and a singer there wasn’t any correction possible. One of the main jobs as a producer was like a meditation manager master. He had to get the band locked together to go down. I remember when they were teaching me to produce, they always would say, “when the motherfucker fucks up you got to embarrass him and tell him to play that shit right. Over and over.”


Vee-Jay Records was across the street from Chess in Chicago.


Ewart Abner was a good friend of mine. The Vee-Jay stuff came later. It was more on the edge of ‘60s. That led into the Impressions, Curtis Mayfield all that part of Chicago. The thing that this early music has is that it just has some fuckin’ kind of magic in it. I think maybe it’s the direct to two-rack recording of the period. I don’t know what it is. Some kind of alchemy. A real esoteric alchemy. That’s what drew the Stones to record in our studio. There’s some alchemy in those early records that even carries over when you sample them. Jerry Butler and Dee Clark. Brilliant singers. Amazing. They all come from black church. Etta. Every one of them. This is the shit, man. All these motherfuckers learned from church, or the fuckin’ cotton fields in Mississippi.

I love Chess Records. Because it was the greatest, happiest place in the world. You would love going there. You laughed all fuckin’ day. The artists hung out there, no, not all the artists, but what we would call the family artists. Sonny Boy, Muddy Waters, Dells, Chuck Berry, Bo Diddley.


And Billy Stewart!


Billy Stewart shot the doorknob off at the studio if they didn’t let him in quick enough. What was Billy Stewart mad about? ‘I brought some fuckin’ pepper stuffed crabs from Baltimore. You gotta taste them before they get ruined!’ We were into eatin’ and laughing. Maurice White is the drummer on Billy’s ‘Summertime.’ I saw genius in him. He was the first black guy that ever had a Volkswagen. He was like the first of the switch from the Cadillac to the cool.

I’m proud and I’m thrilled, and helped historically continue the legacy of the Chess Records label. I’m not a classic blues fan, a blues collector, I am not into the anal aspect of what guitar strings Muddy used, or what harmonica did Little Walter play.

I only wanted to be around my family, and my father, who was a workaholic. It was a family business. They were immigrants and embraced that. For age 7 to age 12 or 13, my dad took me on the road, not because I wanted to be in the record business but because I wanted to be with my father. So, I got it really by osmosis, ya know. And that was my real reason for hanging out there.


In Hollywood at Fairfax High School, the Father and Sons album released with Muddy, Otis Spann, Sam Lay, Buddy Miles Paul Butterfield, Michael Bloomfield, and Donald “Duck” Dunn was the big hit in the school hallway with collectors and stoners. It’s been reissued by Universal. The version of “Long Distance Call” is totally amazing!


Man, and live, you couldn’t see it, Muddy did this dance on ‘Got My Mojo Working’ that was unreal! Like Nureyev. He put down his guitar and did a pirouette. The place went wild! You can hear it on the record. You can hear the crowd when that happens.

Muddy Waters being interviewed by Mike Bloomfield, Chicago, IL; circa early 1960’s. (Photo by Ray Flerlage/Cache Agency)

What sort of images flash in your head when you play the music of Chess Records?


I see them. My dad and uncle. Man, that’s what goes through my head. Sonny Boy Williamson and Muddy Waters went to my Bar Mitzvah. A lot of black people were there which was a very unusual event back then in 1955.

The Chess recording artists were always writing about women problems and sex. That’s all I ever heard from them when I was a kid. I saw some of these records being recorded. I sold them originally. I helped their initial exposure. On the SiriusXM radio program I brought more exposure.

But being around the blues, and all these records being made, and knowing the artists, I don’t know, man, it just, ya know, got into me. It just became part of me. It’s part of my life. I’ve never even considered it work. I appear and promote Chess and the blues in films and TV documentaries. I do as much as I can because I get a buzz out of it. I’m just amazed, man, that this music that we made in Chicago has become so historical


In the Chess stable as far as songwriters like, who, was your main man?


Chuck Berry was the best. He had a spiral notebook, a fuckin’ school spiral book. I saw all those lyrics written out. Like poetry, man.


The earliest I saw Chuck Berry was 1969. He was having pickup bands even then.


A pick up band… In the mid to late 1950s he was just brilliant. Johnnie Johnson on piano. I don’t remember much. The first session I remember in detail when he came out of jail was ‘Nadine.’ I was his road manager for six gigs. I brought him his clothes when he came right from the prison. My dad gave me $100.00 to take him down next to the Chicago Theater on State Street to buy him a new outfit. And then we went on tour. The first gig we did was in Flint, Michigan, with the Motown rhythm section backing him.


I never got to see that…


Chuck was great. But I always felt he was too greedy. He ruined the alchemy because those pickup bands, as good as they knew it, weren’t locked, like if it would have been his own band. That’s why in Keith’s movie he had all those problems with Chuck. He wouldn’t lock. And he lost it. He needed my father there. I don’t know if I could even deal with it. My dad was the one. As for guitar playing, he invented that whole thing, ya know. And he sang and wrote the words, too.

Howlin’ Wolf poses backstage with his guitarist Hubert Sumlin, in England; 1964. (Photo by: Brian Smith/Cache Agency)

Run down some of the other Chess artists. Howlin’ Wolf. I loved it when he was on Jack Good’s Shindig! television show in 1965 when the Rolling Stones were booked.


Howlin’ Wolf…On stage very commanding, but off stage a very gentle, soft man. I remember him telling me he was learning how to read music. Did you know that? He went to school to learn how to read music so he could learn how to play the guitar. He wanted to learn notes. One time my dad had me bring him a thousand dollars to his house, and he opened like those tool boxes that you lift off the tray at the top. And it’s stacked full of money. “What do you need this money for?” “I gotta go buy some special dogs to go huntin’ on my farm.” (laughs). He was a gentle man but ferocious. Big. He used to drink a lot. He was pretty much high a lot when he performed.

Muddy Waters – Chicago, 1964. (Photo by: Ray Flerlage/Cache Agency)

Muddy was the showman and a towering regal figure.


Muddy liked to drink. Muddy on stage and in the studio was the best. He was organized. He was a fuckin’ leader. I always say this. People say ‘what do you mean?’ He was a fuckin’ leader. Muddy was the reincarnation of a tribal chief, of a President, of a King. Such a powerful presence. I just loved him. And he treated me so good. He used to call me his white grandson. His wife Geneva used to send me fried chicken wrapped in foil. Muddy once wrote a poem to a girl for me that I gave when I was in high school. I always say this and people laugh but most of what I discussed with these guys was about sex. That was the main thing on their mind.

In the fifties and very early sixties there were clubs, during that early blues heyday of Muddy, and Wolf, they were places where people went primarily on weekends to find women. And women to find men and to party. And the music was very much party music. It was like a psychological influence on the people in these little clubs. And it was what these guys wanted to do. Drinkin’ and make love.

It then began to die out as R&B and Motown happened. It’s a period when I was in a few of those clubs that were hot and steamy and smelly and funky and the music was loud. Those were the clubs where Muddy Waters put the coke bottle in his pants and Wolf got down on his knees, howling, drinking whisky out of a bottle. Those were a whole different audience then when the white blues market discovered it.

Look at their lyrics. With the TV programs recently on Muddy. The American Masters documentary, it’s all very gratifying. We always knew it. Gratification is the best word. Not for all of them. Muddy, Wolf, Chuck Berry. These are like Beethoven and Bach. They should be right up there.

Buddy Guy – Chicago, 1960s (Photo by: Ray Flerlage/Cache Agency)

Buddy Guy?


Buddy Guy brought me a real mojo from Mississippi that I used to wear when I was in high school that I used to wear when I was trying to get girls. This little pink bag I pinned to my under shirt.


Bo Diddley?


I have always considered Bo Diddley to be one of the most creative, innovative and original of all the Chess artists. From his custom guitars that he built himself to his constant searching for new sounds. He has influenced many recording artists with his originality. He was not afraid to take chances with his music. Chess Records was the perfect place to be as we to were not afraid to experiment with new sounds and ideas. During the 50’s both Bo and Chess were always ready to push the envelope. Brilliant artist. A true original. Great artist. But he’s a trip. The thing I remember about Bo, and here’s my memory. I remember Bo with this long airport limousine broken down in front of 2120 S Michigan Avenue on his back repairing it himself in the street jacked up changing the rear end or something. On the curb. You know what I told Bo Diddley? “The reason you’ve never had another hit is because your creativity is tied up in bitterness. I said let that shit go and you can have a hit tomorrow. You’re a fuckin’ genius.”


Willie Dixon?


Willie Dixon. Songwriter, producer, bass player. He’d get the bands together. I think he was a great songwriter and a great –promoter and a real hustler and he was a great guy. He was very important to the success of Chess and I will not take that away from him. He wasn’t Chess at all. But he was an important part of Chess Records. Very important part of that blues era.


Etta James?


The Queen of Soul. They were calling her that before Aretha (Franklin). She’s just great. She started singing in church. She’s a real L.A. girl. A street girl. Johnny Otis broke her out on Modern, and then she had that hit “Roll with Me, Henry” that was later re-titled “Dance with Me, Henry.”

In 1960 she came to Chess and our Argo label, and then another hit in ’61 with “At Last.” In 1967 came “Tell Mama.” Both great records. They blew our minds. We loved good shit. We knew when it was good. (Laughs). We had black radio in our pocket. We were strong. Not only that, we had a radio station WVON. (Voice Of The Negro) which was part of it. E. Rodney Jones was our program director.


Little Walter? People are still talking about him.


He’s the truest genius of all the Chess artists. Because he invented and perfected a new way to play the harmonica, and did it with tremendous creativity and talent. Very much like Hendrix with guitar. They’re exactly alike. Miles Davis considered Walter a genius. Hendrix considered Walter a genius. I liked him as a person but he was always drunk. I never knew him when he wasn’t fucked up. Smelling of liquor. But, yeah, I liked him. There was something ‘sloppy drunk’ about him that I liked. But he had a mean side to him, too. I saw him and my dad go at it with anger numerous times when he was drunk. He’d be a mean drunk. But we loved him. And my dad and my family loved him. We buried him.


You issued Electric Mud by Muddy Waters and have been defending it from the day of retail release.


Here’s the true Electric Mud story. I produced it. I recorded it and promoted it. At that time, I was very aware and very on top of alternative FM radio. I drove across the United States, visiting FM DJ’s like Tom Donahue and Bobby Mitchell in San Francisco. I’d meet all the DJ’s at radio stations in Los Angeles like KMET-FM and KPPC-FM and meet all these people. And these guys would be smoking joints on the air and they’d take an album right from your arm and play it immediately five times on the air!


FM “Underground” radio gave airplay to blues recordings during 1967-1970


Those were the great days. I was part of the generation. When everyone took LSD to watch the Grateful Dead, I did. I’ve been at the Fillmore West sitting on the floor. What happened to me was that I was part of that sex, drugs and rock ‘n’ roll generation. And it blew my mind.

Bill Graham was the greatest for that for the blues artists of that era. B.B. King on the bills. FM radio was a Godsend for the blues. The big commercial AM stations would not play the records at all except some black stations. And I decided to repackage Chess to that market that was getting stoned and going deep. It was a big boost when the English groups covered the music earlier. On records and at their shows. We loved it and something we thought could never happen.

Muddy Waters and B.B. King really dug white people doin’ their stuff. Sonny Boy was very much into white people doin’ his stuff. So was Howlin’ Wolf. I remember (Eric) Clapton gave him a fishing rod. Wolf was a real sportsman. He had fuckin’ huntin’ dogs that were a thousand dollars each. It blew our mind, of course it was a fantastic thing. We loved it. And we never thought that could happen. It was a total fantasy. But we first noticed it with the Muddy At Newport album came out. See, albums were not selling to black people. They didn’t have record players. I can remember we got all these orders from Boston on the Muddy album and we knew it was white people buying it. College kids. The first things we noticed as the album market developed.


In 1984, you became a partner in the established blues rock publishing company, the Arc Music Group, which he began actively heading in 1992. You and the Arc Music team placed Chess Records-birthed recordings and music copyrights into major motion pictures, television shows, and TV commercials. You just oversaw the sale of Arc Music to Fuji Entertainment America.


I’m in shock and still haven’t realized it. It was time. We’ve had people chasing us since 2001. We’ve just been waiting for the right buyer. It was the right price with the right respect for the catalogue.

Chess Records fans Charlie Watts and Paul Body at the Motown Museum, 2015.


© Harvey Kubernik 2010, 2022


HARVEY KUBERNIK is the author of 20 books, including Leonard Cohen: Everybody Knows published in 2014 and Neil Young Heart of Gold during 2015. Kubernik also authored 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon and 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.

Otherworld Cottage Industries in 2020 published Harvey’s book, Docs That Rock, Music That Matters, featuring interviews with D.A. Pennebaker, Chris Hegedus, Albert Maysles, Murray Lerner, Morgan Neville, David Leaf, Dick Clark, Curtis Hanson and Michael Lindsay-Hogg.

Kubernik’s writings are in several book anthologies, including The Rolling Stone Book Of The Beats and Drinking With Bukowski. Harvey wrote the liner note booklets to the CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

 In 2020, Harvey served as a consultant on the 2-part documentary Laurel Canyon: A Place in Time directed by Alison Ellwood that debuted on the M-G-M/EPIX cable television channel. During December 2021, Kubernik was an on-screen interview subject and received a consultant credit for the rock & roll revival music documentary currently in production about the story of the Toronto Canada 1969 festival featuring the fabled debut of the John Lennon and Yoko Ono Plastic Ono Band and an appearance by the Doors. Klaus Voorman, Geddy Lee of Rush, Alice Cooper, Shep Gordon, Rodney Bingenheimer, John Brower, and Robby Krieger of the Doors were filmed by director Ron Chapman).

STAX Records HBO Multi-Part Docu-Series in Production

by admin  16th Aug 2022 Comments [0]

By Harvey Kubernik 


Cable television channel HBO is preparing a new multi-part docu-series about landmark Memphis, Tennessee-based Stax label.

In the 1960-1975 period the Stax company placed more than 167 hit songs in the Top 100 on the pop charts, and 243 hits in the Top 100 R&B charts. Stax launched the careers of such legendary artists as Otis Redding, Sam & Dave, Rufus & Carla Thomas, Johnny Taylor, Isaac Hayes, Booker T & the MGs, Steve Cropper, Ron Capone, Albert King and numerous others.

STAX is directed by award-winning filmmaker Jamila Wignot, and executive produced by Academy Award winners Ezra Edelman and Caroline Waterlow of Laylow Pictures and Emmy winners Nigel Sinclair and Nicholas Ferrall of White Horse Pictures.

STAX is the story of the audacious group of outsiders who dared to make their own music on their own terms,” the producers explain. “The series will feature rare and never-before-seen archive material and will explore how a confluence of forces—race, geography, musical traditions and the challenging world of the recording industry—helped shape a Stax spirit that continues to shape our culture.

“Executive producers are Scott Pascucci, Sophia Dilley and Michele Smith for Concord Originals; Jody Gerson and David Blackman for Universal Music Group’s Polygram Entertainment; and Charlie Cohen and Ron Broitman for Warner Music Entertainment. David Peck of Reelin’In The Years, Jeanne Elfant Festa and Cassidy Hartmann will act as co-executive producers. Wignot will also serve as a producer on the project, alongside series producer Kara Elverson. Rob Bowman, author of Soulsville USA: The Story of Stax Records is serving as a consultant on the series.”

In a 2022 email, co-executive producer David Peck told me, “Stax records is very near and dear to my heart because the music that was cut in that Memphis studio from the late 1950s until it shut its doors in 1975 flows through my veins. Back in 2007, I directed a documentary on Otis Redding (Dreams To Remember) as well as producing the DVD release of The Stax Volt Revue Live In Norway.”

Directive: Go watch the mind blowing Reelin In The Years’ DVD The Stax/Volt Revue Live In Norway 1967. Widely bootlegged in truncated and poor condition for many years, this is the first time the 75-minute concert was made available on DVD, re-transferred from the original master tapes that had been resting in the television vaults for the last 40 years. The producers also discovered an additional lost reel with an extra 20 minutes of previously unseen performances from the same concert. This footage was restored, making this DVD the longest and most complete visual record of the legendary 1967 Stax/Volt tour.

Highly recommended are the potent full-length performances, including five songs by Otis Redding, a blistering four song mini-concert recital by Sam & Dave. The DVD also spotlights Booker T & the MG’s, Arthur Conley, Eddie Floyd and the Mar-Keys.




Wayne Jackson was an R&B musician who played trumpet in the Mar-Keys and in the studio house band at Stax Records and was later a member of the Memphis Horns. In 2007 Jackson and I discussed that epic Stax/Volt ’67 UK/Europe tour and his Stax label memories.

“Initially it was going to be Otis and his guys who went on the road with him. It was Jerry Wexler who said, ‘No. They want to hear the sound of Stax.’ The UK audience knew it as the Stax/Volt band. The Mar-Keys and Booker T & the MG’s that made up the band. They loved Otis Redding like we all loved Otis Redding, but the band at Stax was the diving board he jumped off of.

“You can tell the horn sound,” mused Jackson. “Me, Andrew Love and Floyd Newman sound a certain way. All those records had that in common. All those records had Steve Cropper’s guitar, Al Jackson’s drums, Duck Dunn’s bass and Booker’s organ. Those things are very distinctive and that made up Stax sounds. And that’s where Otis came from. So, Jerry Wexler was really hip to say that,” Jackson remarked.

Otis Redding (Courtesy of Atlantic Records)

“I loved Otis and he loved me. We were big friends. ‘Cause we all liked to laugh, and we were all young and the testosterone levels were out of this world. That’s what you heard in that music. Al Jackson was a joy to watch. He was the most fun drummer I ever was around. He was just the best drummer you ever heard and the best drummer you ever saw. He was a great musician.

“Musicians are not in competition. No one in that band was in competition. We were one thing. We were there to support and glorify Otis Redding. And we did that. And it shows on screen. We were there to respect glorify and hold the singer up to glory. Whether it be Otis, Eddie Floyd or Sam & Dave. We did that. That was our job and we loved it and did it good. Everybody in that band had his position. Like Duck Dunn. Have you ever seen anybody work that hard on bass? It makes my hands cramp up.

“Playing on the 1967 Stax/Volt tour I didn’t alter anything. I just tried to hang on. ‘Cause the tempos were higher. Jim Stewart told Otis in England, ‘We’re recording this Otis so we need to get into the groove of Stax.’ And Otis said, ‘Fuck you. This is my show and I’m gonna leave these people out of breath.’ And that’s what he did. He ignored Jim completely. It was his way to keep the fire under their feet I don’t think he had more confidence. I don’t think he could have had any more confidence if he tried. He was just an exuberant, wonderful guy. He brought all of that to the stage with him.

“Sam & Dave tried to cut him every night. They tried to blow him out of the water but they never did. They were as strong as nine acres of garlic but Otis was ten acres of garlic!”
During my 2007 encounter Jackson, I felt a sense of destiny imbued the sound of Stax wax.

“Duck Dunn and I are both left-handed, born on the same day in the same hospital. It was a real spiritual and astrological happening at Stax,” acknowledged Wayne. “Andrew Love is three days older than me and he and David Porter were born the same day. Booker is a musical genius. Otis always brought a great contribution to all the sessions he was on. He was educated. Steve Cropper invented a style of guitar where the little guitar parts were singular. He played licks that became part of the song. The horns were part of the song. Without us they would not have been the same.

“Otis used a guitar to write songs and would use open key. So, he could just bar it put a bar on his finger and play up the scale and chords. He could easily write with it. When I was with Otis, he was on another energy track. Otis was like a 16-year old boy with a hard on all the time. Because all he could think about was writing a song and getting into a studio. That was his life. Zelma and those kids and the farm and his music in that order, I think. But outside of the farm he didn’t think of nothing but his career. Otis did an amazing body of work in the six years he was recording,” Wayne summarized.



My brother Kenneth and I wrote a book A Perfect Haze: An Illustrated History of the Monterey International Pop Festival published in 2012. The June 1967 festival exposed Otis Redding to global attention and further spotlighted Booker T & the MG’s to an unsuspecting audience.

It was Rolling Stones’ manager/record producer and omnipresent musical tastemaker Andrew Loog Oldham who initially called talent manager Phil Walden to secure Otis for the Monterey booking. Walden then in turn dialed Atlantic’s Jerry Wexler to see if the festival was legitimate. Wexler also explained to him what the logic of it would be and Walden wisely took Wexler’s advice that Otis should do the gig for free.

“When Otis came on stage you forgot about the logistics,” offered Oldham in our 2007 interview. “We knew we were taking one small step forward for mankind. Phil Walden, his manager, was in heaven. He knew he’d just graduated from buses to planes. Phil Walden was one of the greatest managers of his time. His enthusiasm, his pure chicanery, his belief, his service to Otis was an example to the game.”

“Otis’ show at Monterey astonished me because he nailed that audience of hippies and weed heads in a way that was astonishing to me because that was not his core audience,” underscored record producer and former Atlantic Records executive Jerry Wexler in a 2008 interview I conducted with him.

“He nailed those hippies; that was unreal. A very loud fantastic rock band went on before them, I think Jefferson Airplane, you know with the 20-foot Marshall amps and all of this, so it was roaring. Now Booker T. & the MG’s open their show with their little Sears Roebuck amps. And you know what, it quieted down. The way you control a noisy crowd is if you are good, you play soft. You don’t try and out volume them. So, they had it set up, and were so good, they commanded so much attention, and when Otis came on the crowd was ready.”

In a 2007 interview, Stax mainstay, guitarist/songwriter and record producer Steve Cropper reminisced to me about the Monterey International Pop Festival.

“The way I recall it, they took us over to the festival in a school bus. We could hear the music and we heard a concert going in that afternoon. Now, we didn’t play until that night but they took us over early, ‘cause some of the guys wanted to hear some of the other artists. And, the Association was on stage as we pulled up, and I will never forget that.

“And here’s a connection, and I always loved their records on the radio, the influence of the Association in 1966-67, that the bridge on ‘Sittin’ On the Dock Of The Bay’ that I wrote with Otis was inspired by my like for their music. Hearing them was a little thing, but that was the inspiration for it, because we knew we had a hit, and we wanted to make it pop. To me the Association loved R&B but they were a pop group. You know what I’m saying? So that’s sort of the way I was trying to go with that. Of course, with Otis singing it, it became an Otis song. He got the idea when he was staying at a houseboat later when he was workin’ the Fillmore West.

“We didn’t have to do sound check or rehearsal at Monterey. Just plug up and go out there and play. Our clothing was different than the flower children. And that was the start of ‘be yourself and do your own thing.’

“One of the things that I recall is a very big compliment coming from Phil Walden, ‘cause Phil was about Phil, and Phil was also about Otis Redding. And they told Phil at Monterey, and you know we went on really late that night, and there had been some delays with the equipment because it was drizzling, and stuff.

“Someone running the festival came backstage back to Phil and said, ‘you know we’re really only going to have time for Otis Redding. Let’s just bring Otis straight on.’ And Phil said, ‘Balony.’ You’re not touchin’ this show. These guys are gonna go out and do the same thing they always do.’

“Which meant we brought out Booker T & the MG’s, we did one or two songs, and brought out Wayne [Jackson] and them, and did ‘Philly Dog’ and maybe ‘Last Night,’ and then we brought out Otis. And, that’s the way we did it, and Phil stuck to his guns.

“The other thing that happened was that about three or four songs into the set, the [Musicians] Union there came back and said, ‘We’re gonna have to shut this show down because we’re over curfew.’ And, Phil went over to them, ‘You ain’t touchin’ this. Them boys are gonna finish this show!’ So we didn’t know what was going on. We heard about this later.

“At Monterey, that audience sat out through the rain to see us, or wait to see Otis Redding, and that’s the first time I ever experienced that. And they were more curious than anything else. Otis had found his audience, and Monterey helped him cross over to a wider white pop market. They already knew how big he was in Europe and Europe.”


Marty Balin: For me a highlight of the Monterey International Pop Festival was Otis. I had been around and he knew who I was. We went on before he went on. And nobody got the crowd moving but when the Airplane came on we got the crowd moving. We got them excited and got ‘em up and dancing. And I walked off and Otis Redding was standing there and he said, “Hey man. It’s a pleasure to be on the same stage with you.” For me, that was it, baby. Right there. He staggered the crowd.

In 1966, and ’67, and all through Jefferson Airplane, we did my tune ‘It’s No Secret.’ I originally wrote it with Otis Redding in mind. It was for him. I used to hang out with Otis and follow him around like a little puppy dog and watch his shows. Hang out with the band and him. I just wanted to write him a song that had his kind of groove thing I thought. But Otis never did it. He did write his own songs.

I didn’t discover Otis at the Monterey International Pop Festival. In fact, I was the guy who took the 45 record of Otis’ “These Arms of Mine” to Bill Graham. “Hire this guy. I want to see him.” And Bill Graham did. December of 1966. He would listen to the bands of who to book and as support or lead acts. Otis was the most powerful person I’ve ever seen perform. Outside of anybody you name. I’ve seen a lot of people play and on TV. I’ve never seen anybody handle an audience like him and rock the joint. The energy level was amazing with this guy. He had that great horn section.


Paul Body: He brought Memphis to Monterey. He turned the festival grounds into a sweaty juke joint on a foggy night. I was standing up on someone’s car that was outside and we danced on the roof. Otis looked like a king dressed in an electric green Soul suit. He came on like a hurricane singing Sam Cooke’s “Shake” at breakneck speed. It was a real electric moment. He looked like a damn fullback up there. He was as magnificent as a mountain. It looked like nothing could stop him. He could rock but when it came to that slow burn Southern style, no one was better. He was giving the love crowd a lesson in slow dancing. He ended with “Try A Little Tenderness” turning it inside out and making it scream for mercy. He slowed it down to a simmer, started off some mournful horns, Booker T’s organ and his voice. Al Jackson came in with light rimshots that sounded like raindrops from heaven in the foggy night. Then Cropper came in with some tasty rhythm chops, then Al started beating out the groove, pushing it and they took it home. I had never seen anything like it.”


Al Kooper: I watched Otis Redding disarm the audience. He was fantastic. The audience sort of didn’t know him and he hadn’t played in front of white people before. It was great. “This is the love crowd.” Shit like that. They gave him a lot of love. And, he had one of the greatest bands in the history of rock ‘n’ roll behind him. I’d seen Al Jackson before. He was like the Charlie Watts of black music.


Bill Graham: The single most extraordinary talent I had ever seen. A six foot three black Adonis in a green suit, a black shirt and a yellow tie who moved like a serpent or a panther stalking his prey.




On August 20, 1972, over 110,000 people witnessed a seven-hour concert in the Los Angeles Memorial Coliseum. The epochal Wattstax music festival celebrated a new direction in soul and R&B for 1972. Isaac Hayes, the Staples Singers, Luther Ingram, Albert King, Little Milton, Johnny Taylor, and Rufus Thomas contributed to this event recognizing the increasing cultural and financial strength of the downtown and South Central LA communities.

The entertainers’ expenses, the equipment, the promotion, and the advertising were all paid for by the Stax organization, in conjunction with the Schlitz Brewing Company. Ticket sales benefited the Sickle Cell Anemia Foundation, the Martin Luther King Hospital in Watts, and the Watts Summer Festival.

In 1973, the documentary film Wattstax, directed by Mel Stuart, enjoyed a national theatrical release. It debuted at the Cannes Festival in 1973 and nominated for a Best Documentary, and a Golden Globe. There was a double-disc sound track.

“They asked me to do the show,” recalled Stuart in a 2006 interview I did with him for my book Hollywood Shack Job: Rock Music In Film and on Your Screen.

Wattstax started when Stax Records wanted to do a big concert at the Los Angeles Coliseum to recognize the Watts Riots of summer 1965, and wanted to show off all their artists in a big concert that would go on for nine hours. Al Bell, then the Stax Organization’s board chairman, got in touch with David Wolper, who I worked with, and he had some connections at Columbia Pictures, and through David, Stax, and Columbia, they decided to shoot a documentary that would play in the theaters.

“I knew a lot about music, but I had never done a show like this. What I did was meet with the Stax people, and basically, the way I wanted to work was to be the only white person. Everybody else would be black. Everybody who would advise me, be around me, and guide me would be black, because they would understand [that] what we were trying to do was create some kind of personification of the way black people feel at a particular time. I made sure that we hired all-black crews because, at the time, they didn’t get a chance to get jobs. I don’t do storyboards. I’ve done too many documentaries, and just follow my brain.

“The Stax people lined up all their talent that was available. I was also fortunate, because three or four acts couldn’t make it, so I had the Emotions on location in a church, both Johnnie Taylor and Richard Pryor in a funky club, and Little Milton out by the railroad track.

“Luther Ingram’s ‘(If Lovin’ You Is Wrong) I Don’t Want to Be Right.’ Man, I love that song. I think that song is so ‘on.’ I used the entire full version. Rufus Thomas’ ‘Funky Chicken.’ A big moment for me was when Kim Weston got up and sang ‘The Star Spangled Banner’ and nobody stood up. And they really stood up for Jesse Jackson’s ‘I Am Somebody’ and ‘Lift Every Voice and Sing.’”

In 2003 a DVD was issued and screened at the Sundance Film Festival.

“There are people coming to see it now, who weren’t even born when the movie was made,” reiterated Stuart. “By the way, the audience gets more and more white. It’s become a thing. I think people have a much greater understanding of the black experience today than they had then.”

In the fall of 2022, the Concord record label will be issuing a 12 CD set on Wattstax with a 20,000 word liner note by Rob Bowman.

D.A. Pennebaker (Courtesy Pennebaker Hegedus)

In 2000, D.A. Pennebaker and Chris Hegedus directed Only the Strong Survive. A travelogue where they lensed recording artists representing different aspects of soul music from Detroit, Chicago, Philadelphia, and Memphis.

“We had heard about this Luther Ingram benefit in Memphis and a lot of the Stax musicians came for that event,” gushed Pennebaker. “The US film release also coincided with the reopening of the long-closed Stax Record studio in Memphis.

“It does have an arc, but it’s much more operatic. In seeing Carla and Rufus come together has such an operatic quality and to see Carla really belt that song out so beautifully. It’s like suddenly you realize what she was all about. You know she knows music upside down and backwards.

“Rufus…What a face. He has such a marvelous way of dealing with the instant, ya know. Everything is as funny as it is at that instance. That’s amazing. He’s like a 12-year old. I love that. I’d seen a picture of him before we did the film, and I thought, ‘that’s a great face to film!’ And when we went to visit him at the radio station there he was. I couldn’t take my camera off him. He was so wonderful just to look at. We had two cameras, which normally we don’t, Nick Doob and I. But we started shooting Rufus on air the way we would shoot a narrative film, so we could cut quick dialogue, and it gave it a whole kind of style that I thought was radio-like.”

Oscar-winning documentarian Morgan Neville in 2007 directed and produced a real-to-reel deep-dive exploration of the Stax world in his Respect Yourself: The Stax Records Story.

Before HBO’s Stax is broadcast on TV, do check out Neville’s probing expedition.

In my 2021 book, Docs That Rock, Music That Matters, Morgan and I discussed Respect Yourself: The Stax Records Story.

“It has a link to my Brill Building documentary in the sense that Stax Records was about opening a studio in South Memphis and letting the kids in the neighborhood like David Porter, Isaac Hayes and Booker T Jones come in and make music. The moment where somebody created a moment and situation where young people could come and do the best creative work they were capable of. They were challenged and they rose to that challenge.

“Just a great story of these people who ended up writing music that scored a popular culture for many years. But it’s such an unlikely story. I really think Stax is one of the rare stories where the music is as amazing as the story. Everything about Stax is a big story with big characters. And, it’s about race in America the sixties and seventies. But the music is freaking good! If I’m picking music, I’ll pick Stax over Motown any day.

“I started to learn about Stax through Peter Guralnick. Reading his stuff and becoming friends with him. I did a documentary with Peter about Sam Philips and Sun Records. Through Peter I got to know Robert Gordon. We did a Muddy Waters documentary and I started spending a lot of time in Memphis. And Stax was like the great untold story of popular music in the south to my mind. It had all the elements. It was like a Greek tragedy with an amazing soundtrack. It took a couple of years to get that film made.”




“There’s no need for me to be bragging on myself and I don’t do that and it’s not an ego thing, and all that,” emphasized Steve Cropper.

“I don’t think there ever was or ever will be a band that had the magnetism that Booker T & the MG’s had. Whether they back somebody or played on their own. In our high school days and upbringing. We had that band mentality thing ‘cause we worked as a unit. Because if some guy wants to go out there and ego on stage, he’s gonna blow it for everybody else. We learned to play as a unit in the studio. We were there not for ourselves but for the artist we were playing behind. In the studio when I was writing songs and starting to record them, I always saw it in my head as a finished product. I knew where to go with it.

“We were treated with more like royalty and respect in England. It was amazing. Like the Beatles! When we’d finish a show there would be hundreds of people wanting to touch us, grabbing a piece of hair, wanting an autograph, hundreds of people trying to touch us. They used to have to line bodyguards up so we could get from the stage to the bus. We’d never seen that before. That was something that just was unheard of, especially in the States.

“All of a sudden it changed everybody’s egos. And things started happening, and all of a sudden, the whole aura around Stax started changing because everybody all of a sudden wanted to be an individual. They didn’t want to work as a team anymore, and I was fighting for the team. I fought for that team big time. To me it was like the greatest basketball team that ever came together. When they went into the studio together magic things happen. And they won. And winning was to have a hit record. A hit single on the charts.

Booker T & the MG’s (Photo by Henry Diltz)

“Al Jackson, Booker, Duck and I grew up playing nightclubs in Memphis. Wayne Jackson grew up that way. So, we had that band mentality thing and we worked as a unit. You know what I’m saying? You have to play as a unit. Playing live, like at Monterey Pop, if a vocalist is not there, I’m playing vocal parts. when a vocalist is there, I back off and play rhythm and fills.

“And then the other thing that happened historically was that in 1968, was the day that Martin Luther King was assassinated, that whole musical aura at Stax the bubble was burst. Never was the same and will never ever be the same.

“You know, I always said it didn’t have to happen in the first place and why did it have to happen in Memphis? A quiet town and everybody got along. You look back, and there were things happening around me that I wasn’t aware of. My buddies didn’t talk to me about it. We never had a problem. We went to each other’s houses, we hung out. We went to restaurants together. We were blood brothers if anything else. We were family. Big time family. So, this sort of changed everybody’s lives without question.

“So, thank God, the Monterey [International Pop Festival] was before that,” sighed Steve.

In 2006, Elvis Costello handpicked some of his favorite Booker T & the MG’s recordings for a collection he compiled, Booker T & The MGs: Stax Profiles. In his liner notes, Costello suggested, “If the city fathers of Memphis ever get around to doing the right thing they will erect a ‘Golden Statue of the Groove’ to Al Jackson Jr.”

In a 1997 interview with Keith Richards in San Diego, California before a concert by the Rolling Stones, we chatted about recording studios, Stax, Motown, Chess, and B.B. King blaring from his jukebox.

“You never point the microphone actually at the instrument,” instructed Keith. “You’ve got them in the corners pointing and once you’ve found those placements, you don’t really change them. One of the joys of it was that you’re not really aware that you’re actually making a record.

“The room is good if you know what you’re doing. Use as few microphones as possible. All the tinkering, splitting things up can never achieve. The whole idea when you play music is to fill the room with sound. You don’t have to pick up each individual instrument, particularly in order to do that. Because a band is several people playing something. And somewhere in the air of the room, that sound has to gather in one spot. And you have to find that spot,” enthused Richards.

“Nowadays I think in a way, maybe when you write a song you are thinking, ‘Can I do this live?’ And so, in a way you add that in. You don’t know if it’s gonna work, but I guess you keep in the back of your mind is ‘We’re making a record here. What happens if they all like it and we gotta play it live?’

“So, in a way that maybe in the back of the mind it sets up the song to be playable on stage,” suggested Keith, as he happily autographed a copy of an Exile on Main Street compact disc to me.

In 2002 I interviewed Rolling Stones co-founder and bassist Bill Wyman in Santa Monica, California, about the Stones’ recording chemistry.

“I always thought… As long as me and Charlie could get it together, then the rest of the
band could do what they’d like and it worked. And that’s what happened in the studio, and that’s what happened live. Me and Charlie were really always on the ball, always straight, always together and had it down. If we had our shit together, we got it right. What he was doing and what I was doing, standing next to him and watching his bass drum, and all that, which a lot of bass players don’t do, stupidly, once we got our thing going, and the group was there, then anything could happen. That’s all there was. There was simplicity. It wasn’t how many notes you played, it’s where you left nice holes, and I learned that from Duck Dunn and people like that.”




The Los Angeles soul and R&B radio station KGFJ in the late fifties, sixties and seventies had Stax singles and LP cuts on their playlists. Stax tunes were spun by deejays Magnificent Montague, Hunter Hancock, Tom Reed, and Jim Wood along with Wolfman Jack on XERB. Decades ago, I saw Stax acts around Hollywood and inside Los Angeles clubs. I got Johnny Taylor’s autograph for Paul Body!

I remember a Hollywood May 1975 visit to Cherokee Studios on Fairfax Avenue during Rod Stewart’s Atlantic Crossing sessions. Cropper, Stewart and engineer Tom Dowd regaled me with anecdotes about Stax and staff. I went out to eat with Rod and Cherokee co-owner Con Merton, at the Cock ‘n Bull tavern on Sunset Blvd. Excellent trout. It was a watering hole of television and movie actor/producer Jack Webb.

 I interviewed Rod at the Beverly Wilshire Hotel. He loved talking about Sam Cooke and Stax.

David Bowie’s “1984” from Diamond Dogs was playing on an FM radio and Rod remarked after listening to the opening guitar riff, “Sounds like David has been listening to Isaac Hayes’ ‘Theme from Shaft.’”

That 1967 Stax/Volt tour of the UK really made an impact not only on Stewart’s record collection but his monumental career.

In 1977, Rod covered Luther Ingram’s hit “(If Loving You Is Wrong) I Don’t Want To Be Right)” on his album Foot Loose and Fancy Free, produced by Tom Dowd.

“Rod Stewart was foaming at the mouth when I got the horn section in for Atlantic Crossing,” recalled Wayne Jackson in our 2007 exchange. “Before that we did Smiler. I recently heard Smiler. Boy, we were some excited folks. I mean me and Andrew were like 31, 32, so anyway we were in England again and recording with a rock star. It was so exciting. He was in love with all of us. Peter Gabriel. I went up to Bath. He saw Otis in Brixton (at the Ram Jam club). I did the arranging on ‘Sledgehammer.’ (The song was written as a tribute to Redding). Stevie Winwood told me personally that our ’67 tour changed his life that night.”

That applies to Keith Richard, too. The Rolling Stones have never shied away from their love and appreciation of Otis Redding and his early Stax/Volt catalog. The band have recorded “That’s How Strong My Love Is,” “Pain In My Heart,” “I’ve Been Loving You Too Long,” and on their 2005 Bigger Bang tour performed “Mr Pitiful” at concerts. On their debut LP, produced by Andrew Loog Oldham, they cut Rufus Thomas’s “Walking the Dog.”

Around a month of 1997 Rolling Stones’ Bridges to Babylon Ocean Way recording sessions, one evening Keith and I talked about his favorite Stax tracks. Later, after dinner with Ronnie Wood at Musso & Frank Grill on Hollywood Boulevard, they both devoured liver and onions, Keith smiled and said sweetly, “Stay on the mission, mate.”

Keith Richard and Harvey Kubernik, 1998 (Photo by Robert Sherman)


© 2022 Harvey Kubernik


HARVEY KUBERNIK is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon and 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In2021 they wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters, featuring interviews with D.A. Pennebaker, Chris Hegedus, Albert Maysles, Murray Lerner, Morgan Neville, David Leaf, Dick Clark, Curtis Hanson and Michael Lindsay-Hogg.

Kubernik’s writings are in several book anthologies, including, The Rolling Stone Book Of The Beats and Drinking With Bukowski. Harvey wrote the liner notes to the CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

The Who: Half Speed Mastered Albums, Shel Talmy, Pete and Roger on the Monterey International Pop Festival and more

by admin  12th May 2022 Comments [0]

By Harvey Kubernik


Keith Moon, the drummer of the Who and I in 1975 did an interview for the now defunct Melody Maker at the Laurel Canyon home of his manager, Skip Taylor, the record producer of Canned Heat since 1967. That year I witnessed the Who’s Southern California live debut at the Hollywood Bowl.

In our ’75 conversation, Moon and I discussed the Who.

“Everybody labors under the misconception that Pete Townshend is the leader of the band. There is no leader. It’s the Who. We’re a group. Each individual is one fourth of the whole. There’s a lot of talent in our group.

Tommy never stopped growing. When Pete was writing it, he got to a point where he was saying, ‘Where do I go from here?’ We were sitting in a boozer in London, which is most unlike us, throwing ideas around. And I said, ‘Well, what about a holiday camp?’ So, it was ‘Tommy’s Holiday Camp’. This is how the Who works. Everybody contributes, everybody is part of what we are involved in. The involvement is total, with no one person in control.”

Just issued in May from UMe is the first in a series of half speed mastered studio albums from the Who; My Generation and A Quick One. These limited-edition black vinyl versions have been mastered by long-time Who engineer Jon Astley and cut for vinyl by Miles Showell at Abbey Road Studios with a half-speed mastering technique which produces a superior vinyl cut and are packaged in original sleeves with obi strips and certificates of authenticity.

July will see the release of two more half speed mastered Who albums, The Who Sell Out and Tommy.

Regarded as one of the most important albums of all time, Tommy is a rock opera about a deaf dumb and blind boy, which, when released in 1969, reached No 2 in the UK charts and No 7 in the US. The album contains songs such as “Pinball Wizard,” “The Acid Queen” and “I’m Free” and is packaged in the original sleeve artwork.

Released in 1967, The Who Sell Out was the third album released by the band and is revered for being one of the first concept albums, celebrating the short-lived pirate radio stations of the late ‘60s with its groundbreaking use of fake adverts and jingles between songs. Highlights include “I Can See for Miles,” “Armenia City in the Sky” and “Tattoo,” and as with Tommy, it’s also been mastered by Jon Astley.