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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.
"The Little Red Rooster" was recorded in June 1961 with guitar work by Howlin' Wolf and Hubert Sumlin, piano work by Johnny Jones, bass work by Dixon, and drum work by Sam Lay. "I Ain't Superstitious" was recorded in December 1961 with Howlin' Wolf, Hubert Sumlin, and Jimmy Rogers on guitar, Henry Gray on piano, Willie Dixon on bass, and Sam ...
Howlin' Wolf – lead vocals, guitar, harmonica; William Johnson – guitar; Freddy Robinson – guitar; Jimmy Rogers – guitar; Otis "Big Smokey" Smothers – guitar; Hubert Sumlin – guitar; Jody Williams – guitar; Henry Gray – piano; Johnny Jones – piano; Hosea Lee Kennard – piano; Lafayette Leake – piano; Otis Spann – piano
Howlin' Wolf recorded the song in June 1960 in Chicago during the same sessions that produced "Back Door Man" and "Spoonful". [10] Backing Howlin' Wolf on vocals are Otis Spann on piano, Hubert Sumlin on guitar, Dixon on bass, and Fred Below on drums. [10] Freddy King has been identified as possibly a second guitarist. [10]
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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 ...
Music journalist Richie Unterberger commented on the adaptability of blues: "From its inception, the blues has always responded to developments in popular music as a whole: the use of guitar and piano in American folk and gospel, the percussive rhythms of jazz, the lyrics of Tin Pan Alley, and the widespread use of amplification and electric ...
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