Edward Redding

Edward Redding is thought to be composer and singer Edward C. (Bud) Redding who died on July 19, 1984. Can anyone confirm this, please. Thankyou, Paul

The Ideals – Knee socks/Mary’s lamb

“Knee socks” by the Ideals was released in the UK on Pye International 7N 25103 in September 1961. Chart data not available.

Howling Wolf – Little baby/Down in the bottom

“Little baby” by Howling Wolf was released in the UK on Pye International 7N 25101 in September 1961. Did not chart.

Chuck Berry – I’m talking about you/Little star

“I’m talking about you” by Chuck Berry was released on Pye International 7N 25100 in September 1961. Did not chart.

Clarence Frogman Henry – You always hurt the one you love/Little Suzy

“You always hurt the one you love” by Clarence Frogman Henry was released on Pye International 7N 25089 in July 1961. US Pop 12, US R&B 11, UK 6.

Etta James – Trust in me/Anything to say you’re mine

The Chess UK singles – one by one

“Trust in me” by Etta James was released in the UK on Pye International 7N 25080 in May, 1961. US Pop 30, US R&B 4.


Etta James – At last/I just wanna make love to you

The Chess UK singles – one by one

“At last” by Etta James was released in the UK on Pye International 7N 25079 in April, 1961. US Pop 47, US R&B 2.

Clarence Frogman Henry – But I do/Just my baby and me

The Chess UK singles – one by one

“But I do” by Clarence Frogman Henry was the first Chess record to be released in the UK on the Pye International label, and was issued on Pye International 7N 25078 in April 1961. US Pop 4, US R&B 9, UK 3.

Etta James – My dearest darling/Girl of my dreams

The Chess UK singles – one by one

“My dearest darling” by Etta James was first released in the UK on London HLM 9234 in December 1960. US Pop 34, US R&B 5.

Remembering Sam Phillips … and alligator shoes!

Louis Menand reviews the new book “Sam Phillips: The Man Who Invented Rock ’n’ Roll” by Peter Guralnick.

In the early days, many of Phillips’ Memphis recordings were issued on the Chess labels for national distribution.

The pop sound in 1950 was smooth and harmonic. Phillips preferred imperfection. It made the music sound alive and authentic. Word got around, and musicians no one else would record started turning up at the Memphis Recording Service. Phillips got them to believe in him by getting them to believe in themselves.

To have the recordings pressed and distributed, he relied on small independent labels like Modern Records, in Los Angeles, and Chess, in Chicago. But he found the men who ran those outfits untrustworthy—he felt that they were always trying to poach his artists or cheat him on royalties—and so, in 1952, he started up his own label, Sun Records.

Not all recording sessions went smoothly for the new entrepreneur.

One of the first in 1950 was “the singing black boy”, a Memphis DJ, who, wisely, decided to call himself BB King on record. A year or so later, Phillips was recording teenage pianist Ike Turner and his band. They were crestfallen that their guitar amplifier had been dropped and damaged. Phillips was nonplussed. He stuffed it with lots of brown paper and told them to play. It’ll sound like another sax, he told them, “it would sound different”. The result, “Rocket 88” with its driving horns and fuzz-tone guitar, is now hailed by many as the first true rock’n’roll record.

As news of his studio spread, more artists were attracted to record for Phillips.

… Chester Burnett, … better known as Howlin’ Wolf, who would make the biggest impression on Phillips. With a voice, says Guralnick, that “mixed the roughest elements of the Delta blues… with its most graceful modulations” he cut through the studio atmosphere “with a sandpaper rasp” and an “almost overwhelming ferocity”. Phillips was more than impressed. He was overwhelmed. His music, he would later famously say, was where “the soul of a man never dies”.

It appears Chess had a few tricks up their sleeve as they built their record company.

Leonard Chess, of Chess Records, used to have a trunk full of alligator shoes when he drove around visiting local d.j.s. He’d ask for their shoe size and gift them a pair.)

Phillips liked experimenting with music styles and preferred the unconventional both in terms of the music he was recording and the way he was recording it. His techniques marked his recordings instantly recognizable. Just a few years after starting his record label in the early 1950s, and by harnessing the marketing power of the growing radio and television industries, his Sun Recordings were having impacts elsewhere.

African-American performers began to benefit from the popularity of the new sound. In May, 1955, Chuck Berry recorded “Maybellene” for Chess Records; Chess rushed the record to Alan Freed, in New York, and it went to No. 1 on the R. & B. chart and No. 5 on the pop chart. Little Richard’s “Tutti Frutti” was released a few months later.

Published in the UK by Weidenfeld & Nicolson.



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