How to define success as a musician on your own terms in 2025As we begin a new year, learn how to define success as a musician on your terms. These pro tips will help define and achieve your unique goals as a. Continue reading
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Your Morning Coffee Podcast: Music Business trends for 2025, Music + AI, Audiophile Vinyl, Bill Hein & MoreEpisode 229 of Jay Gilbert and Mike Etchart's podcast Your Morning Coffee: Weekly News for the New Music Business is available now. LISTEN HERE:
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Claudia Brant: Songwriting SavantWhen she first moved to Los Angeles from Argentina almost 40 years ago, Claudia Brant was writing three to five days a week, building a catalog that now includes over 3,000 songs in various genres, written in Spanish, Portuguese, and English. Shares Brant, “I don't remember the titles. I don't remember the words. It was a lot.” She signed to Warner Music at age 22, releasing South American albums Claudia Brant and Tu marca en el alma, and when her focus shifted to working directly with artists, she began doing two sessions and an average of two singles a week, jet-setting between Miami, Spain, Puerto Rico, and elsewhere. 1,200 of her songs have now been recorded in English, French, Spanish, Portuguese, and Korean. As SESAC’s Latina Songwriter of the Year for three consecutive years (2007-2009) and ASCAP’s Latina Songwriter of the Year in 2012 and 2015, Brant is the West Coast Vice-President of the Latin Songwriters Hall of Fame and has served as a Trustee of the National Academy of Recording Arts and Sciences for over twenty years, remaining a Governor of the Los Angeles Chapter. While she still writes music, her main priority now involves mentoring young songwriters to help them on their way.Brant’s mentorship momentum grew when the chair of the Songwriting Department at Berklee College of Music (he is now the Dean of Professional Writing and Music Technology), Brant’s good friend (and previous writing partner), Rodney Alejandro wanted to add a course on Latin songwriting. Enlisted (she was already teaching songwriting online) to lead the charge, Brant soon realized how much talent there was. “I would give them homework they have to deliver,” she says. “There were some of them whose delivery was incredible [and] I started thinking, my God, I have to do something with these kids?!” Adding that it took her five or six years to get her first label manager meeting, Brant says that, while she had some help from ASCAP, BMI, and SESAC, she didn’t understand how to interact with the executives she needed to meet. “[I] couldn’t really sit down with these people, play them my songs, and tell them, ‘hey, I think this would be good for your artist.’” As an established writer, she now only has to pick up the phone to make things happen. Brant wants to use her access to help talented new songwriters get opportunities they might otherwise have available.With a pipeline of new talent through her Berklee songwriting class, Brant joined forces with Warner Chappell to help develop young artists through her publishing company, ChaChaCha Music Publishing (instagram.com/chachachamusicpublishing), and she is committed to helping her writers be seen and heard. “Warner Chapel has 500 writers. I have five, so I'm on it every day,” says Brant. “I would be very happy if one of them got an ASCAP, SESAC, or BMI award. I would be delighted if they got a GRAMMY nomination as writers. They don't want to be artists, so that kind of recognition is really important.” While Brant says the process and structure of songwriting for Latin music versus mainstream is mainly the same, she has been analyzing top Grammy nominees for Record of the Year and Album of the Year and concludes that they generally all lean towards pop (except for Jacob Collier, who is more jazz sounding). The same cannot be said for Latin music, however. “On the Latin side, you have pop, alternative, salsa, regional Mexican, bolero, cumbia, reggaetón, trap. There are so many genres,” reveals Brant. “I try to teach my kids to be a chameleon. You should be able to get into a session in whatever genre and survive. There are way more genres in the Latin market.”Starting out writing mostly pop songs herself, Brant never shied away from a mix of genres or languages, but admits that the key to any good songwriting endeavor is careful collaboration. “I worked in genres not so familiar to me,” she says. “When I write regional Mexican, I never do it without a writer from (…) from Mexico that really knows the words [and] how many chords we should use. They know that, and I don't because I come from pop, so whenever I write for that genre, I try to do it with someone who can teach me or train me.” Making calls to top collaborators to help her writers, she says the feedback has been incredible. “They have all called and thanked me because the collaboration will help bring a young flavor to their songs,” she says.To create the best possible co-writing outcome, Brant also emphasizes the importance of limiting the number in the room to four people maximum (except in co-writes with bands, in which case she considers the group as one of the writers). “What I don't like—and I'm absolutely opposed to,” says Brant, “is the ‘birthday party’ writing session, which means ten people in a room. Even when that happens, it's not even good? You don't need more than two or three people to write a wonderful song.” One of Brant’s writers recently had five people show up for a session and Brant advised her to stand up and say that she is taking 33.33%, and not splitting it six ways. “She did, and that was it. No one argued,” says Brant. “You have to put your foot down early.“ Admitting that industry splits can still be an issue (her last challenge was as recent as six months ago), Brant shares that, “In those moments, I lose my patience, my drive, and [am] really disappointed, but I just grab my guitar and the melodies and the words keep coming in, so I guess I should not stop?”Songwriting is all about “the craft of coming up with a unique melody, something you have never heard, that takes a completely unexpected turn, [combined with] the use of the words,” says Brant. “We know that amor rhymes with color and I don't want to hear that. Give me something else. You don't want to hear a song that's called “I Love You,” “I Miss You,” “Without You,” or “I'm Lonely.” Please give me issues. Give me “Ironic” by Alanis Morisette. How many ironic songs are there registered at ASCAP, BMI or SESAC?  None.  Titles are so important.” In addition to being prolific in their writing, Brant finds her best prospects by looking at “how they name their songs, the words they use, the twists they do with words, the turns of the melody that are unexpected,” adding that, “those are the things that catch my excitement about a song.”Agua TintaRising mentees, Latin songwriters Agua Tinta (instagram.com/aguita_tinta) and Laura Prias (instagram.com/lauraprias_) had nothing but praise and gratitude for their experience so far. “Being able to work with Claudia is amazing because she's a songwriter herself,” says Tinta (who is based in Los Angeles). “She's been through what we're going through, so she understands us, supports us, and guides us. Almost no one in the industry as a publisher does that for the writers, so working with Claudia is the best thing that could have happened to me.” Adds Prias, “It's a dream come true. She has a life of experience in this industry. If she sees that magic, that talent, she is going to put all her effort in to help you and let you know you're doing well, or [that a] song needs more work. Not everyone has this help. It’s a blessing to be working with her. It's an honor. I'm living the dream. What's next is already happening.”Encouraging her writers to step out and introduce themselves, Brant says she had an innate drive from a young age and is hoping to support her mentees to build that muscle. “When I want something, I just go for it. That’s something some of my kids need to learn; to believe in themselves. When they have five cuts each on major labels, they're going to be able to go for it. That's a bit of what happened to me, but that drive was always there.” Her mentees are very aware of the opportunities that are opening up and are soaking it all up. “I'm so grateful for all her help and the faith she has in our work,” says Prias. “We just had the Latin GRAMMY week and being at her side, looking at her being so versatile with people [saying] ‘look, this is my new writer.’ Knowing that Claudia Brant is saying that was amazing [and] working with her in an actual session blew my mind.” Shares Tinta, “One day we decided to have a session and she was having breakfast. I had just rung up. It was emotional. We were talking and she was like, ‘so what are we going to write about today?’ In one second, she had the chorus. Once she started singing the chorus with the lyrics, that blew my mind. It is one of my favorite moments – it was very chill, but I learned so much.”Laura PriasBrant says that choosing which projects to work on—and her collaborators—is also about the right energy. “When I first got here [to Los Angeles], and maybe for ten years, I used to write with whomever, whenever, whatever. Now, there has to be some kind of particular connection,” she says. “I have a partner I produce with. [He sometimes someone comes into the studio, we look at each other and we're like, ‘no – this is not going to happen.’ Sometimes we want to do the entire record of the person. There's this particular connection that happens with some people.” For Brant, success comes down to hard work and connections. “It’s a combination of both,” she says. “If I'm going to take you to a meeting with a big label, you need to play this person three songs that are going to blow his mind, so then he thinks, ‘this girl is good - I'm going to ask her for more.’ [It’s] the quality of the song, plus the relationship you have for five minutes with this person, and you build it from there.”As her writers begin to be invited into bigger rooms, Brant expects at least one of them to land an artist session very soon. “When you get in the room with artists, the chances of getting the song recorded are way higher than just writing for pitch. That’s something I want them to achieve,” she says. “I'm teaching again in January, so I'm going to have another 25 kids. They're like my children. My children are in college, so I adopted some more.” Speaking about her current mentees, Brant says they “have such a bright future ahead. I want [them] up on stage with an ASCAP award and nomination for best GRAMMY Original Mexican or Best GRAMMY Urban Pop. Sometimes it takes five years, sometimes seven, and sometimes [just] one. It takes time, but it's going to happen because their way of writing [is] very unique. They use words that I wouldn't use.”“When I first started, five cuts in a record could still sell 10 million copies,” says Brant. “Now we need to have the single and get paid by streaming services. [To work] as a songwriter now, write as much as you can to amplify the possibilities of getting a cut. The songs have to be catchy, with a title, words, and melody that are unique so that they have a chance of becoming a single. If you have a single and 2 billion streams, it’ll make a little check. Collaborating, co-writing in the studio with artists, and having as many songs as possible on a record, that can help. That’s the goal.”With 11 Latin Grammy and Grammy nominations as a songwriter, artist, and producer, Brant’s songs have been recorded by artists including Camila Cabello, Carlos Santana, Barbra Streisand, Josh Groban, Ricky Martin, Enrique Iglesias, Demi Lovato, Paola Guanche, Teo Bok, and many others. Ongoing collaborations include Bruno Mars, Dianne Warren, David Foster, Danny Elfman, Julio Reyes Copello, Walter Afanasieff, Desmond Child, partner Josh Cumbee, and Lil’ Eddie Serrano, to name a few. Winning a Latin Grammy for 2009’s Song of the Year for “Aqui estoy yo” and 2019’s Grammy for Best Latin Pop Album for Sincera, 2014’s “I’m not the only one” (as recorded by Frankie J.) was the title track for Pantaleón/Lionsgate film “Spare Parts” starring George Lopez and Marisa Tomei. Brant was inducted into the Latin Songwriter’s Hall of Fame in 2016. “I was talking to a friend at the Latin GRAMMYs who won Songwriter of the Year and Producer of the Year,” says Brant. “Six or seven years ago, I was in a recording studio and he was serving coffee. What happened?! We don't know. I always say one song can change your life. One.”In addition to ongoing songwriting credits, Brant spends the majority of her time giving back through classes, workshops, and mentorship across Argentina, Mexico, and the United States. For more on Claudia Brant, visit: claudiabrant.com.The post Claudia Brant: Songwriting Savant first appeared on Music Connection Magazine.

The 2024 AllMusic Readers' PollOur 2024 year in review coverage ends with the top 10 albums of the year as voted on by the AllMusic community. Respondents from all around the world made their choices, and we're excited to share the top 10 results as voted by you, the AllMusic reader.

Austin Daboh, Jackie Hyde, Jasmine Dotiwala, Steve Lamacq amongst those recognised in UK New Year’s Honours listBroadcasters and record label execs named in prestigious New Year's Honours roll call
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Mark Williamson: Trends driving the Music Business in 2025We asked a select group of our favorite pros to help identify the music business trends that will drive the industry in 2025. Mark Williamson, the founder and CEO of live music industry trade Rostr, offers four trends that he sees from his unique vantage point.
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Berklee Online offers free Ear Training Game in VRBerklee Online has launched a free training game in virtual reality, to making ear training more accessible, immersive and fun than ever before. Berklee Online offers free Ear Training Game. Continue reading
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Sphere to Ring in 2025 with Dazzling New Year's Eve Exosphere ShowSphere Entertainment Co. announced today the “Sphere New Year’s Eve Celebration” presented by Lexus – a custom Exosphere content show to ring in 2025 on the world’s largest LED screen. This dazzling show will include a celebration of major cities around the world as different timezones approach midnight, culminating with Sphere serving as Las Vegas’ official countdown to 2025 as part of the destination’s citywide New Year’s Eve fireworks show. And immediately after the clock strikes midnight, Sphere will showcase content from Afterlife Presents Anyma ‘The End of Genesys,’ which will play inside Sphere on New Year’s Eve. The Sphere New Year’s Eve Celebration will also feature a festive Lexus activation and art from XO Artist UON Visuals. “Sphere is a global landmark, and we’re excited to be sharing New Year’s Eve with our fans around the world through our Exosphere show,” said Jen Koester, President and Chief Operating Officer, Sphere. “New Year’s Eve in Las Vegas is one of the world’s marquee celebrations, and we’re proud to be working with the Las Vegas Convention and Visitors Authority, Lexus, and Anyma to ring in 2025 as only Sphere can.” The Sphere New Year’s Eve Celebration will kick off at 5:00am PT on December 31 when Sydney, Australia welcomes in 2025. Throughout the day, the Exosphere will display dynamic imagery with countdowns ahead of global cities – including Tokyo, Abu Dhabi, London, Buenos Aires, New York, Chicago and Denver – ringing in the New Year. The final 30-second countdown to midnight in Las Vegas will serve as the city’s official countdown to “Making Vegas Memories,” the theme of this year’s “America’s Party 2025” pyrotechnic show in which fireworks are launched from the rooftops of nine resort properties across the Las Vegas Strip. At midnight, Sphere and Anyma – who is the first electronic artist to perform at Sphere and will be playing the fifth night of his eight show residency – will unveil a special moment on the Exosphere, giving fans an unprecedented glimpse into the opening sequence of his highly-anticipated show. The Exosphere will also feature art from self-described “psychedelic math artist” UON Visuals – the latest artist to create art exclusively for the Exosphere as part of Sphere’s XO Art program. UON Visuals is a 3D artist based in Vancouver, British Columbia, who uses math formulas and code to craft intricate animated patterns and dynamic color spectrums that engage the senses. Fans celebrating both on the ground in Las Vegas and watching online via XO Stream, the Exosphere’s 24/7 livestream, can tune in to the custom content starting at 5:00am PT on Tuesday, December 31. XO Stream is available on thesphere.com. Since the Exosphere was first illuminated on July 4, 2023, it has captured worldwide attention for its impactful visuals. At 580,000 square feet, the Exosphere consists of approximately 1.2 million LED pucks. Each puck contains 48 individual LEDs, with each diode capable of displaying more than one billion different colors – creating a vivid landmark on the Las Vegas skyline.   The post Sphere to Ring in 2025 with Dazzling New Year's Eve Exosphere Show first appeared on Music Connection Magazine.

Benji Rogers: Trends that will drive the Music Business in 2025As the the year winds down we asked a handful of the new music industry's finest professionals to help us identify the music business trends and technologies that will drive 2025. Today, Benji Rogers shares what he sees at the start of a "an extremely transformative era in the music and creative industries."
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Rise of an Anti-Algorithm Music Counterculture [Mark Mulligan]A new music counterculture is emerging, rejecting algorithms and perfection for raw, authentic creativity. Check out how this movement is reshaping the industry and empowering a new generation of artists.. Continue reading
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State Of Classic Rock in 2024Classic Rock's legacy shines in 2024 with Fleetwood Mac topping charts and Led Zeppelin's new documentary. In this one, Fred Jacobs covers the latest updates and cultural impact of this timeless genre with a journey through Classic Rock in 2024.
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Kubernik: Chess Records Tribute ChannelPhoto by Alex HealyAfter its inaugural launch in the fall by Marshall Chess, son of legendary Chess Records co-founder Leonard Chess, along with his son Jamar and partner Richard Ganter, the Chess Records Tribute Channel announces a December 13 start of “Chess Tales,” a new podcast series that will bring to life more behind the scenes stories from this seminal roots music label.     The new series consists of Chicago-born Marshall Chess telling the stories behind the featured video clips and well as the music in four parts, with a total running time of 52 minutes. It will include stories about Muddy Waters, Howlin’ Wolf, the Rolling Stones, the Psychedelic era and many more. Marshall Chess hinted that it may also possibly be a part of a new audio book of "Chess Tales” they are considering producing this winter.     “I was inspired by my four young grandchildren,” says Marshall Chess about “Chess Tales” in a media announcement.    “I thought the best way I could transmit the amazing Chess legacy to them was digitally. Our YouTube channel will tell the whole story to them on iPads, computers and phones.     “The Chess Records Tribute Channel is a “one-stop shop” outlet for vintage video music clips for genres ranging from Blues, Soul and Jazz, to Rock ‘n ‘Roll and Gospel with the rollout of the Chess Records Tribute Channel: https://www.youtube.com/@ChessRecordsTribute.     “There was only one seminal African American label. There was only one Leonard Chess, the legendary co-founder of Chess Records. Starting December 13, The Chess Tribute channel on YouTube will release a weekly five-part podcast series narrated by Marshall Chess. Forget the myth, forget the stories read before. Buckle up! This is the true story of Leonard Chess as told by none other than his son, record producer Marshall Chess, from the immigrant journey to co- founding Chess Records with his brother, Phil. to the music revolution of Blues & Rock 'n Roll and beyond; founding the first African American radio station and more. He was a visionary ahead if his time. The original Blues Brother! Sit tight as you immerse in an exclusive podcast show with imaging and of course some tunes thrown in.”          The Chess Records Tribute Channel is the only dedicated video channel on all things Chess Records, its legacy and beyond, fully authorized by Marshall Chess. Currently the channel has 5k permanent subscribers and growing.     The channel boasts to date over 500 videos under several key genres such as Blues, Rock, Gospel, Soul, Jazz and Comedy, plus key Chess artist playlists where you get the most exclusive and rare videos seen on YouTube, refreshed every few days with new videos. The channel features over 70 exclusive podcasts by Marshall Chess, produced with Richard Ganter.     In addition to Blues, all other genres that Chess was famous for are covered in depth, including Soul and R&B. Dedicated playlists feature key artists such as Muddy Waters, Howlin’ Wolf, Bo Diddley, Sonny Boy Williamson, Etta James, Little Walter and Chuck Berry, to name a few.     The channel further boasts special films and features including the specially re-colorized and digitized “Bo Diddley Legend” documentary produced by Marshall Chess.     The publicity news release further touts the endeavor.      “The channel also features exclusive videos   produced by Richard Ganter and Marshall Chess on the Grammy-nominated album Hip-Hop –influenced The Chess Project,produced by Marshall and Jamar Chess and Keith LeBlanc, featuring a stellar artist lineup of Bernard Fowler, backing vocalist of The Rolling Stones, world-class percussionist LeBlanc,  Skip “Little Axe” McDonald (Grandmaster Flash and The Furious Five) and Eric Gales (Santana, Gary Clark Jr., Lauryn Hill) on guitar; Paul Nowinski  (Keith Richards, Patti Smith) and MonoNeon (Prince, Ne-Yo) on bass; Reggie Griffin (Kenny” Babyface”  Edmonds, Chaka Khan) on keys; Alan Glen (Jeff Beck, Peter Green) on harmonica; and Mohini Dey, an up-and-coming young bass player from India.        “After spending his early years alongside his father and uncle in Chicago studios and record pressing plants, Marshall Chess made his mark at the family label in the late '60s with his own label Cadet Concept producing the groundbreaking albums Electric Mud (Muddy Waters) and Rotary Connection (self-titled). Marshall continued his innovative work as the founder and head of Rolling Stones Records and president of music publisher, Arc Music. The Chess family continue to be pioneers in the industry today; as this new collection is co-executive produced by Marshall’s son, Jamar Chess: a Billboard "30 Under 30" alum, 2019 ASCAP award-winner, and co-founder of Sunflower Entertainment and Wahoo Music Fund One, partnered by Marshall and Jamar. Now living in Upstate New York and at 82 years old, Marshall Chess is still a record man above all - tending to the Chess Records legacy for his grandchildren and generations to come. He maintains The Chess Records Tribute YouTube channel, which features recorded live performances of Chess Records artists and a multi dozen-part Chess podcast hosted by Marshall where he chats about producing classic Chess albums and songs, many of which are reinterpreted on New Moves.     “Richard Ganter Started his career in publishing and studio/live productions covering several continents. During his career, he worked for various Polygram Record labels, MCA Records and Universal Music International, amongst others. A former executive at Universal Music Group International, he conceived the Legendary Masters series to reestablish the Chess Records catalogue to a global audience culminating in the production of the critically-acclaimed 15 CD Chess Story box set in 2000. He also produced several million-selling TV albums such as B.B. King Ultimate Collection. A former executive at Vivendi Universal Mobile, he marketed the first wireless mobile digital content portals globally across all genres from hip-hop to pop, including Eminem’s “8 Mile” film, Mary J Blige, Jay Z, Snoop Dog, The Rolling Stones European tour 2004, Sting, million-selling MTV Frog tune among others.”         Marshall Chess and I have a bio-regional connection. My parents Marshall and Hilda, were also born in Chicago. Marshall’s mother Revetta and my mother graduated from Chicago’s Von Steuben Senior High School. A photo of the school graced the cover of Chuck Berry’s Sweet Little 16 LP on Chess.       During 2009, 2010, and 2024, I interviewed Marshall Chess at length in person in West Hollywood, California at the Sunset Marquis Hotel and also by telephone New York.  Q: What sort of images flash in your head when you play the music of Chess Records?A: 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 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 and on the SiriusXM radio program I brought them exposure.Q: In the Chess stable as far as songwriters like, who, was your main man?A: 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.Q: The earliest I saw Chuck Berry was 1969. He was having pickup bands even then. A: A pickup 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.Q: I never got to see that…A: 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.Q Run down some of the other Chess artists. Howlin’ Wolf.A: 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.Q: Muddy was the showman. I dug talking to him.A: 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 friend 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.    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.Q: Buddy Guy?A: Buddy Guy brought me a real moio 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.Q: Bo Diddley? .A: 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 Ave. 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.”Q: Willie Dixon?A: 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.Q: Etta James?A: 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.Q: Little Walter? People are still talking about him.A: 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.Q: I know that Chess Records was also friendly with the other local independent labels in Chicago and in Los Angeles. There was a sense of camaraderie, not cut throat competition that exists in the ever-changing recording and dismantled music business today. In the very early sixties, you attended the University of Southern California and promoted R&B shows at the California Club in Central Los Angeles on Santa Barbara Ave. now Martin Luther King Blvd. And, not all the artists were on the Chess label. A: The other labels were competitors but there was a great sense of camaraderie. We were all in it together. Man, in L.A. there was this record shop, Flash Records, you’d go in the window. I used to go there all the time with Paul Gayten. And I knew the DJ’s in L.A. on KGFJ and KDAY. Larry McCormick. Hunter Hancock. And Margie, Ted Quillan. Johnny Otis was great. I loved the DJ Magnificent Montague. “Burn Baby Burn.” Q: And, now I know why I first heard some Muddy Waters and Howlin’ Wolf records in downtown Los Angeles on the R&B radio stations like KGFJ and KDAY. This goes back to Coliseum Street Elementary school and grade schools in Crenshaw Village in South L.A. and Culver City.   A: I did shows with Ted Quillan, KFWB, and Hunter Hancock, and the girl who was with him, Margie Williams. Those were my partners in the shows. I just wanted to be in L.A. after going to the University of Denver. My two colleges. We had an office with Paul Gayten. He was part of our family. I worked with him in L.A.    “I loved Modern Records. The Bihari brothers! I loved Jules Bihari. He’d have me over for breakfast. They were my fuckin’ family. We weren’t in competition. I used to say, none of these young guys know, we were like the Magnificent 7. You know what I mean? It was great.    So, I went back to Chicago after my dad got mugged. I loved Ewart Abner at Vee-Jay. Loved him. Oh, man, when my dad got the award at the Rock and Roll Hall of Fame, I asked that Ewart be the presenter. I always loved Abner, but didn’t know Jimmy and Vivien (Brackett) too well. Vee-Jay. I didn’t know Dee Clark well. I loved John Lee Hooker. Jerry Butler. High class. Great. Gene Chandler. Class. Great. Curtis Mayfield. Genius. He and Charles Stepney are the two major geniuses of Chicago. Not just arrangers. Brilliant geniuses. I loved them!  I loved the Chicago record world music scene. One of the greatest times of my life.     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.Q: At Fairfax High School the Father and Sons album Chess 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 the stoners and long hairs. A few years ago, it was reissued by Universal. The version of “Long Distance Call” is a mind blower.A: 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.    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.Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love.       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 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.    Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters.   He is currently writing a book Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll Television Moments) for 2025 publication.            Kubernik is in several book anthologies, most notably, The Rolling Stone Book Of The Beats and Drinking With Bukowski.   Harvey wrote the liner notes to 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.   During 2006 Harvey spoke at the special hearings initiated by The Library of Congress held in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 Kubernik appeared at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their heralded Distinguished Speakers Series.The post Kubernik: Chess Records Tribute Channel first appeared on Music Connection Magazine.

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