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WP_118/ 2008
(  Satoshi Kinoshita )
| Series: | Works on paper: Paintings 2 | | Medium: | acrylic on paper | | Size (inches): | 25.6 x 17.9 | | Size (mm): | 650 x 455 | | Catalog #: | WP_0118 | | Description: | Signed, date and copyright in pencil on the reverse.
Instrumental song by the Stones - 2120 South Michigan Avenue
Recorded on June 10 & 11, 1964. First released in the UK on the EP, Five by Five on August 14, 1964, then released in the US on the album 12x5 in October, 1964. There were two different versions of this song recorded during these sessions.
Bass: Bill Wyman Drums: Charlie Watts Guitar: Keith Richards Harp: Brian Jones Organ: Ian Stewart. Percussion: Mick Jagger
-www.keno.org/stones_lyrics/instrumentals.htm
2120 South Michigan Avenue -
Composer: "Nanker Phelge" (Rolling Stones)
Recording date: June 1964
Recording location: Chess Studios, Chicago, USA
Producer: Andrew Oldham
Engineer: Ron Malo
Never performed onstage
Probable line-up:
Drums: Charlie Watts
Bass: Bill Wyman
Electric guitar: Keith Richards
Organ: Ian Stewart
Harmonica: Brian Jones
Tambourine: Mick Jagger
Track Talk:
I played the bass riff for 2120 South Michigan Avenue and then everyone picked up on it. It was credited to Nanker Phelge. - Bill Wyman, Rolling With The Stones, 2002
-www.timeisonourside.com/SO2120.html
Nanker Phelge -
Nanker Phelge (aka Nanker/Phelge) was a collective pseudonym used between 1963 and 1965 for several Rolling Stones group compositions. Stones bassist Bill Wyman explained the origins of the name in his 2002 book, Rolling With the Stones:
When the Stones cut "Stoned"—or "Stones," according to early misprinted pressings—as the B-side to "I Wanna Be Your Man," Brian [Jones] suggested crediting it to Nanker/Phelge. The entire band would share writing royalties. Phelge came from Edith Grove flatmate Jimmy Phelge, while a Nanker was a revolting face that band members, Brian in particular, would pull.
Thus anything credited to Nanker Phelge refers to a Mick Jagger/Brian Jones/Keith Richards/Charlie Watts/Bill Wyman collaborative composition. The ASCAP files for the very earliest Nanker Phelge compositions also list early Rolling Stones member Ian Stewart (also known as "the sixth Stone") as a co-author covered by the pseudonym.
The name resurfaced in the late 1960's on the labels of the original vinyl pressings of Beggars Banquet and Let It Bleed. Manufacture of both albums was credited to Nanker Phelge, which was then acknowledged as an ABKCO company. (Apparently ABKCO was now manufacturing the records which were still bearing the London and Decca labels.)
The following songs were credited to Nanker Phelge:
* Stoned (Oct. 1963) (ASCAP also credits Ian Stewart as co-writer)
* Little by Little (Feb. 1964) (credited as 'Phelge') (co-written with Phil Spector; ASCAP also credits Ian Stewart as co-writer)
* Andrew's Blues (Feb. 1964) (unreleased)
* And Mr Spector And Mr Pitney Came Too (Feb. 1964) (unreleased, co-written with Phil Spector)
* Now I've Got a Witness (credited as 'Phelge') (Apr. 1964)
* Stewed and Keefed (Brian's Blues) (Jun. 1964)
* 2120 South Michigan Avenue (Aug. 1964)
* Empty Heart (Aug. 1964)
* Play with Fire (Feb. 1965)
* The Under Assistant West Coast Promotion Man (May 1965)
* I'm All Right (Jul. 1965) (sometimes credited to Phelge/McDaniel)
* Aftermath (Dec. 1965) (unreleased and unavailable on bootleg; not to be confused with the album)
* Godzi (unreleased and unavailable on bootleg, although the song has been registered with BMI)
* We Want The Stones (actually this is audience cheering on the 1965 got LIVE if you want it! E.P.)
Note: This article does not cite any references or sources. (November 2007). Please help improve this article by adding citations to reliable sources. Unverifiable material may be challenged and removed.
-en.wikipedia.org/wiki/Nanker_Phelge
The Glimmer Twins -
The Glimmer Twins is a nickname given to Mick Jagger and Keith Richards of The Rolling Stones. The two often use it as a producing credit on Stones albums. The origin of the nickname dates from a vacation cruise Jagger and Richards took to Brazil in 1969 with their then girlfriends, Marianne Faithfull and Anita Pallenberg. During several meals, an older English couple ate at the same table as the rock stars and kept asking Richards and Jagger who they were. When they refused to reveal their identities, reportedly, the older couple kept asking, "just give us a glimmer" (as in "give us a hint to your true names"), for the couple did vaguely recognize the men from television and tabloids.
Jagger and Richards were so amused by this recurrent request, they began to call themselves the 'Glimmer Twins' when producing Rolling Stones records.[1] The first of many producing credits for the 'Glimmer Twins' appears on the It's Only Rock'n Roll album jacket and record sleeve. No effort was made to explain that the term was a pseudonym for Jagger and Richards.
Glimmer Twins credited albums -
Rolling Stones:
* It's Only Rock'n Roll
* Black and Blue
* Love You Live
* Some Girls
* Emotional Rescue
* Sucking in the Seventies
* Tattoo You
* "Still Life" (American Concert 1981)
* Undercover (Co-producer Chris Kimsey)
* Dirty Work (Co-producer Steve Lillywhite)
* Steel Wheels (Co-producer Chris Kimsey)
* Flashpoint (Co-producer Chris Kimsey)
* Voodoo Lounge (Co-producer Don Was)
* Stripped (Co-producer Don Was)
* Bridges to Babylon (Co-producer Don Was; Rob Fraboni, Danny Saber, Pierre de Beauport and The Dust Brothers)
* A Bigger Bang (Co-producer Don Was)
Other Artists:
* Peter Tosh's Bush Doctor, 1978. (Co-producers with Peter Tosh and Robert Shakespeare).
* Note: John Phillips' Pay, Pack and Follow released 2001, recorded 1973-1979, credits Mick Jagger and Keith Richards as Producers.
Notes:
1. ^ Blake, John. His Satanic Majesty: Mick Jagger. New York, Holt 1985.
-en.wikipedia.org/wiki/The_Glimmer_Twins
Chess Records Office & Recording Studio, Chicago, Illinois -
The building located at 2120 South Michigan Avenue in Chicago is one of the most famous addresses in American pop history. It is a modest structure originally designed in 1911 by architect, Horatio Wilson. In 1957, brothers Leonard and Phil Chess converted this former automobile parts factory into the Chess Records Office and Recording Studio, creating a home for legendary Blues artists. This significant remodeling was handled by architect John S. Townsend, Jr., and engineer, Jack S. Weiner (studio designer/installer).
History and Significance:
From 1957 to 1967, the building housed the studio and recording company that beget legendary recordings by Muddy Waters, Chuck Berry, Howlin’ Wolf, Bo Diddley, John Lee Hooker, Etta James, Koko Taylor, Buddy Guy, Ramsey Lewis, Ahmad Jamal, Aretha Franklin, and dozens of others. Many of these musicians were southern-born African-Americans who had come to Chicago in the wake of the "great migration" of the early and mid-20th century. Recordings such as "Johnny B. Goode," "Rescue Me," and "Red Rooster" were all recorded at Chess, and in the 1960s, the Rolling Stones immortalized the address in the Blues instrumental "2120 S. Michigan Avenue," much of which was recorded there. The two-story, brick and terra-cotta-faced building was designated a Chicago City Landmark in 1990.
The story of Chess Records is rooted in immigration, music, and African-American history. Leonard and Phil Chess were Polish-Jewish immigrants that came to Chicago through Ellis Island, and African-American musicians migrated from the South to Chicago — all in search of a better life and "to make good." After working in their father’s junk shop, holding jobs as milk men, and selling shoes, the Chess brothers bought a nightclub called "Macomba," and it was here that Chicago blues history would begin. Mississippi Delta Blues artists would play the rough, rugged music of the Mississippi Delta Blues at Macomba and the music soon caught on. When Leonard Chess realized music scouts were gaining interest in these musicians, he decided to begin recording and selling the music himself. Initially, the Chess brothers rented a small, makeshift studio, and then moved from one little storefront location to another. Eventually, by the mid-1950s, this music gained in popularity and interest grew nationwide.
Chess RecordsThe Chess Brothers purchased 2120 South Michigan Avenue in 1957, hired 20-year old Jack Weiner to design their state-of-the-art studio, and proceeded to "turn the music industry on its ear." The unique "Chess" sound that emanated from its walls was a result of its musicians, studio (where none of its four walls were parallel — with several held on "clips" to allow desired reverberation), and electronic tube equipment. The room’s acoustical dynamics were key to defining the "Chess" sound.
Music made at Chess is the basis for all rock ‘n’ roll we hear today. Chess was a very significant record label that made a huge impression on European groups, including the Rolling Stones, who took their name from the widely popular Muddy Waters tune, "Rollin’ Stone."
Chief among the Blues greats who worked here was Willie Dixon, prolific songwriter, producer and bassist. No single songwriter to emerge from the Chicago Blues scene can boast a body of work as prolific and influential as that of Dixon’s. He contributed literally hundreds of song compositions to the burgeoning Chicago Blues scene and played a major role in putting Chicago on the map and dubbing it "The Blues Capital of the World." Chess executive Dick LaPalm remembers "…there wasn’t a Blues recording made by Leonard or Phil Chess where Willie wasn’t in the room. In spite of whoever is credited as producer, when you get right down to it, Willie was the guy."
In his later years, Willie Dixon founded the Blues Heaven Foundation to protect the Blues artists of the past and to inspire future generations with the straightforward power of the Blues tradition. His widow, Marie Dixon, and other Foundation donors including MCA Records and John Mellencamp, restored this modest building to its 1957 appearance to serve its music education programs for children, students, Blues musicians and music enthusiasts. The Foundation, a 501(c)(3) organization, has donated 17,000 instruments to schools and established numerous educational programs. The Foundation also provides free legal services to Blues musicians to aid them in obtaining royalties and maintaining other creative artist rights. The building is open for public tours.
Preservation Needs:
The Willie Dixon’s Blues Heaven Foundation has been able, in large part, to return the building to its historic 1957 appearance and it was opened to the public in 1997. However, further restoration of the recording facilities is still needed to fully re-capture the heart and look of its 1950’s and 60’s heyday.
Future work on the building, for which funding support has not yet been raised, includes the reinstallation of the 1950-60s recording studio. Much of the studio’s original equipment, which would be installed in this studio, is now in storage in the Willie Dixon archive and/or held within the care of its original designer/engineer, Jack Weiner. Fortunately, Weiner is still living and his expertise will be consulted during this reinstallation process. Cost estimates for the entire studio reinstallation project range between $1.5 and $2.5 million and includes: (1) documentation of the original studio design and installation; (2) documentation of original studio operation instructions; (3) reconfiguration of the original studio walls; (4) repair, restoration, and reconstruction of acoustical systems; (5) reconstruction of studio control room; and reinstallation of original recording equipment. Project also involves the restoration of original equipment and a survey effort to locate recording equipment not held within Dixon or Weiner archive. It is anticipated that documentation of the original studio design and installation (the first step in the restoration process) will cost approximately $50,000.
Other needs include (no costs associated as yet):
* Construction of new studio (requested by major artists). New studio would be in new building constructed adjacent to 2120 — currently a vacant lot. City essentially donated adjacent lot to Chess in an effort to help maintain the integrity of 2120 and plan for its future needs.
* Funding for educational programs, including "Blues in the Schools." Have given over 17,000 instruments to schools, expanded scholarship programs, and provided artist legal education and other assistance.
* Funds to create climate control atmosphere so that sensitive Dixon archives can be fully installed in the building.
The conservation needs of original music and memorabilia here highlight the needs of other music archives all around the country.
© 2000 Save America's Treasures.
Save America's Treasures is a public-private partnership between the White House Millennium Council and the National Trust for Historic Preservation.
-www.saveamericastreasures.org/profiles/chess.htm
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500 Fifth Avenue, Suite 1820 (Between 42nd and 43rd)
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