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"This guy certainly has the credentials to be a real Blues Star"
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This album was originally reviewed by Howard Rye in B&R 2000,when it was described as being on the M...This album was originally reviewed by Howard Rye in B&R 2000,when it was described as being on the Memphis Gold label and without a number. The 'current release' was recieved in the B&R offices with a label on the back of the jewel case indicating that Jim O`neal's Stackhouse label(See Bluesosterica.com) has taken over promotion of it with the label number Stackhouse SRC-1911. I certainly hope that the album now gets the distribution and promotion it deserves, because this is simply one heck of an album.
A very strong vocalist and guitarist, Memphis Gold(alias Chester 'Chet Chandler) has a varied backing crew to assist him, including saxes, organ, harmonica, bass, drums-and another guitar. He calls his music "Sanctified Beale Street Urban Gutbucket Blues' and performed on Beale Street as a child, learning from the legendary blues and gospel guitarist Reverend Robert Wilkins (hence the inclusion of Prodigal Son). His influences are understated, in that there are no blatant comparisons to be made, but this album has a varied mixture of many 'blues' and bluesy' sounds.
The main thing though is that the whole album, at the same time, sounds both traditional and modern. This is really fine blues, and if there is such styling that allows blues to go forward and remain (within reason of course) popular then surely this could - perhaps should - be it. Quite why nothing has been heard of Memphis Gold since the original'issue' of this album I don`t know, this guy certainly has the credentials to be a real blues star, mixing straight blues, gospel, funk, r&b and most anything else that is artistically good.As far as I know 'Gold' hasn`t appeared at any 'major' Euro-festival, or very often on blues festivals in his homeland, again, why I don`t know. Howard described him as a major talent, I can`t disagree with that. He also advised readers to buy the album on the basis that it would soon become a 'tomorrow`s classic'. again I can`t disagree- in other words get it while you can.
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"I Really Hope You Come Back to Sweden Again!"
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Thanks for turning Mönsterås Bluesfestival in Sweden into A REAL PARTY! When you entered the scene, ...Thanks for turning Mönsterås Bluesfestival in Sweden into A REAL PARTY! When you entered the scene, and started sharing your expressive music and love, the party started, before that it was only a concert.
For along time, I have wondered if there are any good modern blues in the states. I really love Muddy Waters, Howling Wolf and all the rest, and I hoped to hear some good modern blues, and you really widen my horizon on this matter. Some modern guitarist seams to believe that the more tones they can hit per second, the better they play. But you really proved your statement that “less is more”, and when you mingled on the floor with the crowd, you killed all guitar heroes – playing your very own style so intense and skilled that we all got excited.
I really hope that you come back to Sweden again.
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"Where has this man benn?"
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As we are the home of the blues here (as quoted by Buddy Guy), Chester Chandler is going to be a won...As we are the home of the blues here (as quoted by Buddy Guy), Chester Chandler is going to be a wonderful addition to our shows. This will be very exciting for not only us but our listeners, too when we unleash these two recordings on our premier Blues Show "Jumpin' The Blues' with Tom Sianidis Wednesdays 1 to 3 pm. I
personally have listened at least three times to both cd's and just love them.
Where has this man been?????? Yeah l know you guys have been privileged to have him all to yourselves, but what a secret to keep from the rest of the world or at least down under. That will now be remedied as we will now show off our latest brilliant discovery, along with your web address. In this position l tend to hear hundreds of cd's a week with many that to say the least are ho-hum. Then these come across my desk,,,,hallelujah real Blues, real music by a very very talented performer. I think you can tell that we love these recordings. So on behalf of PBS and of course our loyal listeners may l extend a big welcome to Melbourne's radio and to our Blues Family of performers and labels. If at any time l can be of help please don't hesitate to contact me. By the way if you care to, check out our webcast and live streaming.
kindest regards Peter Merrett,
Music manager.
PBS FM 106-7.
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"The Stealth Bluesman"
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I like to think of local guitarist Memphis Gold (real name, Chester Chandler) as the stealth bluesma...I like to think of local guitarist Memphis Gold (real name, Chester Chandler) as the stealth bluesman. He’ll blow into town without much fanfare, totally mesmerize the audience with his sophisticated blues licks, and then suddenly vanish for months at a time, leaving his new-found fans still wondering just who was this masked man. In fact, Chester probably enjoys more name recognition throughout the world than in his own back yard of the mid-Atlantic region, having traveled extensively as ambassador of goodwill for the Department of Defense to far-flung outposts like Korea, Japan, Okinawa, the Marshall Islands, Guam, Germany, Macedonia, and Kosovo, just to name a few. In short, the man is constantly on the go.
This hidden treasure recently turned 50 has been in this area since 1992, having moved from Memphis wherein as a youth he learned his guitar licks at the knee of legendary Delta picker, later gospel player, Reverend Robert “Tim” Wilkins and formed his first soul band, the Reflections, in the late 60s, before eventually assuming the guitar chores of the renowned blues outfit, the Fieldstones, who recorded for High Water (Jessie Mae Hemphill, Junior Kimbrough, Hammie Nixon, etc.), in the early 80s. Just prior to leaving the Home of the Blues, he was fronting his own group, the J.J. Blues Band.
Down and out and homeless after landing in the Nation’s Capital, he played in the streets for tips, making an important connection to the famed harp player, Charlie Sayles, who also earned his meager existence in this manner. As a duo, they later helped in the debut of Baltimore’s Spike & Charlie’s (restaurant) in a blues concert series sponsored by the Coalition for Celebrating African Music of the Americas. And encouraged immensely by another noted D.C.-based bluesman, Bobby Parker, he soon started finding regular club work at the Jet Lounge on 14th St., later the Rock Bottom in Bethesda, JV’s and Whitlow’s in Northern VA, and the Bohemian Caverns on U Street. In 1995, he served a year-long stint as lead in Debra Coleman’s touring band (with the late Willie Hicks on bass) before finally venturing out on his own. By 1998, he issued his first and very well-received eponymous CD which was produced by Parker, an undertaking which was highly influential in his selection as the top headliner in Brad and Marcia Selko’s annual Hot August Blues Festival in Manor, MD, the following year. In 2004, came an invitation to perform at the prestigious Poconos Blues Festival.
Chester is very proud of his newest endeavor, The Prodigal Son, and hopes it thrusts him back into the public consciousness and he has spared no expense to that end, employing both the state-of –the-art Cue Recording Studio, of Falls Church, VA, and an aggregate of the finest artists to be had in the vicinity, including Phil Wiggins (of Cephas & Wiggins fame) on harmonica, Willie Hicks on bass (his last recording collaboration), and Pete Ragusa, longtime member of the famed Nighthawks, on drums. And as always, Bobby Parker lends a hand behind the scenes. In fact, such professional musical experience coupled with the likes of this technically superior facility can not help but bring a striking clarity to the project. And even Memphis Gold’s guitar work, with shades of B.B. King’s deliberate, precise, choking the individual strings method, rings like a proverbial bell.
Chester has always expressed his desire to pen his own compositions, rather than rehash old material, and, true to his word, presents the listener a full dozen of new creations. Possessed of a fine baritone voice with the obligatory blues “edge,” he tackles all the various styles of this genre with equal aplomb--from the funky soulful, “Come Wit Me” and “Bedroom Mumba” to the Chicago inspired “Preacher Blues” and the complex, rhythm structure of “Chicken It,” whose riffs resemble that of Hubert Sumlin in his Howlin’ Wolf days. As for boogie woogie or jump blues, the rollicking “Don’t Let Her Ride,” is a fine exemplar and the title track, “Prodigal Son,” hearkens back to the traditional, twelve-bar folk blues he heard in his youth. But it’s in his approach to slow tempo, down home, gut bucket blues that Memphis Gold really shines and there are three great opportunities with which to showcase his prodigious guitar talents against an often stark, plaintive, emotion-wrenching backdrop—“Big Leg Woman,” “3’s Tonic,” and “Serves Me Right,” the latter an almost ten minute tour de force. Yes, there’s something here for every taste, as Chester touches all the blues bases. And he even throws in an infectiously groovy instrumental, “Melt Down Baby,” for good measure.
The Prodigal Son without reservation deserves a hearty “thumbs up” and will be a welcome addition to anyone’s blues library. For Chester, it will definitely serve as a milestone in his maturation process and can not help but enhance his reputation as a figure to be reckoned with, not only in these parochial parts but also on the big national stage. It just might be the key that opens this door and the requisite exceptional effort that finally puts him over the top - the big breakthrough.
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Ron Weinstock- DC Blues Society
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It was gratifying seeing Memphis Gold at this past summer’s Pocono Blues Festival. Having seen Chest...It was gratifying seeing Memphis Gold at this past summer’s Pocono Blues Festival. Having seen Chester Chandler perform at long gone venues like Smokehouse Blue and Fleetwood's, as well as his band with Charlie Sayles with their regular gigs at JVs and being regulars when Whitlow’s on Wilson first opened, one has to admire how he and his band has matured. At the time of the festival, he gave me an advance copy of his new self-produced CD, The Prodigal Son, which is being released imminently. Comprised mostly of originals it includes his regular band with guest appearances by Phil Wiggins on harp and Pete Ragusa on drums on a track or two, and several tracks have the late Willie Hicks on them.
Anyone who has seen Memphis Gold knows how much soul he brings to his performances and his Memphis influences go beyond the late Reverend Robert Wilkins and other influences of his youth. Certainly, the Stax sound underlies some of his songs like his evocation of Don’t Make Your Move Too Soon on the opening Come Wit Me, with its funky tempo and groove. Its not surprising to see folks filling the dance floor and when he takes his guitar solo on this, it does not slow things up one bit. They avoid hurrying the tempo too much on the shuffle, Don’t Let Her Ride, which I believe was previously recorded by James Peterson, and has a nice piano solo and raw acoustic harp before Memphis Gold’s guitar takes the tune out. After the hot racetrack groove on Crabcakes, the tempo slows down for Big Leg Woman with more fluid fretwork. The title track, Prodigal Son, is not the song by his mentor, Rev. Robert Wilkins, but has a similar theme about a wondering blues man heading home set against the melody of the classic 44 Blues. Then there is an instrumental Chicken It, with a riff that suggests Howlin’ Wolf’s Killing Floor (and some nice harp), Preacher Blues, where he talks about bringing his shotgun to church with a driving solos, and the humorous bit of double entendre on Test Drive That Woman. The lengthiest track, Serves Me Right, is a terrific slow blues as pleads to his lady that he wants to come back home.
I had not listened to this in a couple months, but hearing it again I was struck how good this is. I should point out that I am among those who are thanked in the credits (reflecting my long friendship with Mr. Chester Chandler). I am just so gratified to have a friend produce probably the best local electric blues CD since Bobby Parker’s two discs for Black Top. It is that good. I am sure you will be hearing this on WPFW and you should check www.memphisgoldprod.com for information on purchasing this superb CD.
Addendum: This CD is available through cdbaby.com and has been picked up by Jim O'Neal for his Stackhouse Records which is distributing this. The James Peterson song I refer to is Don't Let the Devil Ride with the same melody and slightly different lyrics. I do wish to reiterate what I said three years ago. This is the best local electric CD (local being the Washington DC area) since Bobby Parker's Black Top discs, and the quality is reflected by the fact that Stackhouse is now distributing it, and Memphis Gold has received rave reviews overseas and has been featured on the cover of Jefferson, the world's oldest blues periodical.
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"I like the fact that he`s a real bluesman and can play and sing with soul!"
Album contains great vocals, tasteful guitar solo`s and slow blues, good performance, I enjoyed it!
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2004 Budweiser Lowcountry Blues Bash
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Memphis Gold (Memphis/DC)
It's been way too long (1996) since Memphis Gold (Chester Chandler) and...Memphis Gold (Memphis/DC)
It's been way too long (1996) since Memphis Gold (Chester Chandler) and his soulful combo have cruised into Charleston. Putting an urbane spin on gutbucket Beale Street blues, every Memphis Gold gig is nothin' but a party. Reunited with him on this visit is the one-and-only Charlie Sayles on harmonica. This is definitely a must-see act if you want your blues upbeat and high-spirited.
http://www.bluesbash.com/2004/artists.php?artistPick=memphis_gold
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CD Review
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It was gratifying seeing Memphis Gold at this past summer`s Pocono blues Festival. having seen Ch...
It was gratifying seeing Memphis Gold at this past summer`s Pocono blues Festival. having seen Chester Chandler perform at long gone venues like Smokehouse blue, as well as his band with Charlie sayles with their regular gigs at J Vs and being regulars when Whitlows on Wilson first opened, one has to admire how he and his band has matured. At the time of the festival he gave me an advance copy of his self-produced cd, The Prodigal Son, which is being released imminently. Comprised mostly of originals it includes his regular band with guest appearance by Phil Wiggins on harp and Pete Ragusa on Drums a track or two, and several tracks of the late Willie Hicks on them. Anyone who has seen Memphis Knows how much soul he brings to his performances and his Memphis influences go beyond the late Reverend Robert Wilkins and other influences of his youth. Certainly, the stax sounds underlies some of his songs like his evocation of Don`t make your move to soon on the opening Come Wit Me, with its funky tempo and groove. Its not surprising to see folks filing to the floor and when he takes his guitar solo on this, It does not slow things up one bit . They avoid hurrying the tempo too much on the shuffle, Don`t Let Her Ride , which I believe was previously recorded by James Peterson, and has a nice piano solo and raw acoustic before Memphis Gold takes the tune out. After the hot racetrak groove on Crabcakes, the tempo slows down for Big Leg Woman with more fluid fretwork. The title track, Prodigal Son , is not the song by his mentor, Rev Robert Wilkins, but has a similar theme about a wondering blues man heading home set against the melody of the classic 44 Blues . Then there is a instrumental Chicken It , with a riff that suggest Howlin Wolf`s Killing Floor ( and some nice harp), Preacher Blues , where he talks about bringing his shotgun to church with a driving solos, and the humorous bit of double entendre on Test Drive That Woman and the longest track, Serves Me Right, is a terrific slow blues as pleads to his lady that he wants to come back home. I had not listen to this in a couple months, but hearing it again I was struck how good this is. I should point out that I am among those who are thanked in the credits (reflecting my long friendship with Mr. Chester Chandler), I am just so gratified to have a friend produce the best local electric blues cd since Bobby Parker`s two disc for Black Top. It is that good . I am sure you will be hearing this WPFW and you should check out http://www.memphisgoldprod.net for information on purchasing this superb cd. CD Baby, Right on Rythm Records and Local Tower Records have this.http:www.memphisgoldprod.net
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A Pike Full of Blues
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A long-running blues festival returns to South Arlington--Wednesday, June 18, 2008
It’ll take mor...A long-running blues festival returns to South Arlington--Wednesday, June 18, 2008
It’ll take more than a broken back to keep local musician Memphis Gold from playing the blues.
Gold, who was born on Memphis’ famed Beale Street as Chester Chandler, is an accomplished guitarist who will be playing this weekend’s Columbia Pike Blues Festival.
Earlier this year, while working his second job as a landscaper, Gold fell out of a tree and suffered a serious spinal injury. He was hospitalized for almost three months.
But Gold, who has been playing the blues since he was twelve, never lost his love of music. The week he was released from the hospital, Gold played an impromptu concert for the nurses and patients.
"I wanted to show them how much I cared," he said. "We had a ball. I had them rocking in their wheelchairs."
GOLD is just one of the many performers who are scheduled to appear at the 13th annual Columbia Pike Blues Festival, which is being held this weekend in South Arlington.
The event has become a yearly tradition for Pike residents and those who live elsewhere in the Washington area to gather for fun, food and authentic blues music.
"It’s our best line up ever," Jim Whittaker, the director of the Columbia Pike Revitalization Organization, said. He said that the Columbia Pike area has taken to the idea of an annual blues festival because "They wanted something that was sort of authentic and fun and down to Earth. The blues certainly fit that."
This year’s headliners are Roomful Of Blues, a long-running ensemble that combines blues, funk, jazz and many other genres. The festival, which is being held on Walter Reed Drive just north of Columbia Pike, will also feature more than a dozen food vendors and a children’s activity area.
THE NORTHERN Virginia-based Gold will be playing one of his first post-injury gigs at this year’s festival. He describes his style of music as "sanctified, Beale Street, urban, gut-bucket blues."
The thirteenth of fourteen children, Gold has led a rich yet difficult life. He moved to the Washington area in 1992 with, as Gold recalled, "$100 and a one-way bus ticket." He was briefly homeless but has been able to become a sought-after international entertainer, having played in almost 40 different countries.
Now, after his injury, Gold has to go to physical therapy almost every day. "He’s still in pain," friend and protégé Stacy Brooks said, "But he loves to perform so you can’t stop a man from doing what he has to do."
Gold himself is thinking only about his next gig. "I’m ready to get some folks dancing," he said. "People are gonna get crazy out there."
