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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.
In 1966, Cream recorded "Spoonful" on their debut album Fresh Cream and included a live, 17-minute version on their 1968 album Wheels of Fire. In 1969 the songs "Shake for Me" and " Back Door Man " were used in the lyrics to the Led Zeppelin song " Whole Lotta Love ."
Howlin' Wolf: 1962 Top Jimmy & the Rhythm Pigs "Don't Go No Further" Muddy Waters: 1956 The Doors, B.B. King, John P. Hammond "Don't You Tell Me Nothin'" Willie Dixon: 1986 used in the film The Color of Money "Down in the Bottom" Howlin' Wolf: 1961 Bill Wyman's Rhythm Kings, John P. Hammond, Siegel–Schwall Band, Barry McGuire "Eternity ...
His Best is a greatest hits album by American blues musician Howlin' Wolf.The album was originally released on April 8, 1997, by MCA/Chess Records, [1] and was one of a series of releases by MCA for the 50th anniversary of Chess Records that year (see 1997 in music).
The Howlin' Wolf Album is the first studio album by Howlin' Wolf, released in 1969. It features members of Rotary Connection as his backing band. [1] The album mixed blues with psychedelic rock arrangements of several of Wolf's classic songs. Howlin' Wolf strongly disliked the album, which is noted on the album's cover art.
The Howlin' Wolf entry is possibly the best of the batch, and one of the best introductions to this mercurial electric bluesman. Opening with the savage 'Killing Floor,' the album doesn't let up in intensity, and it happily focuses on Wolf's less-anthologized sides, which gives the album a freshness a lot of blues compilations lack".
AllMusic reviewer Ken Chang stated "Wolf adamantly refuses to back down from his rivals, resulting in a flood of contentious studio banter that turns out to be more entertaining than the otherwise unmemorable music from this stylistic train wreck. Although Wolf and Waters duke it out in earnest on the blues standards, the presence of Diddley ...