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"Spoonful" has a one-chord, modal blues structure found in other songs Dixon wrote for Howlin' Wolf, such as "Wang Dang Doodle" and "Back Door Man", and in Wolf's own "Smokestack Lightning". It uses eight-bar vocal sections with twelve-bar choruses and is performed at a medium blues tempo in the key of E. [ 5 ] Music critic Bill Janovitz ...
Chester Arthur Burnett (June 10, 1910 – January 10, 1976), better known by his stage name Howlin' Wolf, was an American blues singer, guitarist and harmonica player. He was at the forefront of transforming acoustic Delta blues into electric Chicago blues, and over a four-decade career, recorded blues, rhythm and blues, rock and roll, and psychedelic rock.
According to Sumlin, Howlin' Wolf sent him to a classical guitar instructor at the Chicago Conservatory of Music to learn keyboards and scales. [6] Sumlin played on the album Howlin' Wolf (called the "rocking chair album", with reference to its cover illustration), which was named the third greatest guitar album of all time by Mojo magazine in ...
Howlin' Wolf recorded "Killing Floor" in Chicago in August 1964, which Chess Records released as a single. [2] According to blues guitarist and longtime Wolf associate Hubert Sumlin, the song uses the killing floor – the area of a slaughterhouse where animals are killed – as a metaphor or allegory for male-female relationships: "Down on the killing floor – that means a woman has you down ...
The Back Door Wolf: Howlin' Wolf Cadet CA-50046 The Dells: The Dells: Chess CH-50047 Big Bad Bo: Bo Diddley: Cadet CA-50048 While My Guitar Gently Weeps: Jimmy Ponder: Cadet CA-50049 Atlantis: Daniel Salinas: Cadet CA-50051 The Fourth Dimension: Jack McDuff: Cadet CA-50052 In the Cut: Ray Bryant: Chess CH-50053 You Can All Join In: The ...
In some ways "How Many More Years" by Wolf would be the first rock ’n’ roll song because that has the guitar lick that became the central guitar lick in rock 'n' roll, and that's the first time we heard that played on a distorted guitar. It was an old big band lick, turned into something completely fresh. [1]
Marshall Chess referred to Howlin' Wolf's dislike of the arrangements on the album's cover. [7] [10] Howlin' Wolf took exception to the blurb, as he had enthusiastically adopted the use of electric guitar, and had led the first entirely electric blues combo in West Memphis in the early 1950s. [3] Howlin' Wolf stated that the album was "dog shit".
Howlin' Wolf reworked the song as a Chicago blues, which Chess Records issued as a single in 1957 and later included on the popular compilation series The Real Folk Blues (1966). [7] For the recording, he was backed by a typical blues ensemble consisting of electric guitar ( Hubert Sumlin ), piano (Hosea Lee Kennard), bass (Alfred Elkins), and ...