One reason Jeff Healey sounds different than other guitarists is because he played the guitar sitting down with the instrument resting in his lap. With guitarist and singer Jerry Garcia’s background as a bluegrass musician, songs like “Sitting On Top Of The World” were a natural for the group and they recorded it on their debut release in 1967. The Grateful Dead are probably the definitive band of the psychedelic era, known for incorporating virtually every style of music into their recordings, with an emphasis on country, folk and blues. With his wailing harmonica and legendary growl, the track leans more towards blues than country. Howlin’ Wolf is well known for the songs he made into blues standards, (“Killing Floor”, “Smokestack Lightning”, “Spoonful”) but his repertoire also included “Sitting On Top Of The World”, which he recorded in 1958. They had major success with their 1930 recording of “Sitting On Top Of The World”, which became a national standard, and toured throughout the South until their popularity waned in the late 1930’s. Though Mississippi-based, their music differed from delta blues in some important ways.įor one, country blues chord changes have more in common with folk music than with blues, and secondly, the prominence of fiddler Lonnie Chatmon gave them a sound more akin to folk and country than to blues. Great as Rosco was, looks like Leonard won that round.Įlectric Blues 1939-2005.The Mississippi Sheiks were a popular string band of the 1920’s and 30’s, with a sound that was a crossover between country music and blues. The battle was ultimately settled the next year when Modern held on to Memphis pianist Rosco Gordon (another Phillips discovery claimed by both labels) while the Wolf went to Chess. With Wolf now also on RPM, the feud between Leonard Chess and Modern's Bihari brothers ramped up. "The Modern record company would come in, and we would record the same songs for them and get 25 bucks apiece,"said Turner. Meanwhile, Ike Turner had hipped the Bihari brothers to Wolf's talents and they pacted him to RPM, setting up a session at KWEM that September that yielded Morning At Midnight( Moanin' At Midnightin paper-thin disguise), a How Many More Years variant titled Dog Me Around, and two more titles. How Many More Yearsand its eerie plattermate Moanin' At Midnightwere cut at that first date, and both pierced the R&B charts on Chess, How Many peaking higher at #4.
Also on hand were drummer Willie Steele and a pianist. Accompanying Wolf was his sledgehammer guitarist Willie Johnson, a product of Lake Cormorant, Mississippi (he was born March 4, 1923) who played pretty ninth chords one second and barbed-wire leads the next.
HOWLIN WOLF KILLING FLOOR MP3 FULL
Sam shipped the results up north to Chess, which requested a full session in either May or August. Phillips brought Wolf into his fledgling Memphis Recording Service in the spring of 1951 for a demo date. Sam Phillips caught one of Wolf's broadcasts and was transfixed. After returning from an ill-fated Army stint during World War II, the big man got more serious about his music, landing a daily 15-minute program on KWEM in West Memphis in 1949. He was playing electric guitar on the streets as early as 1938. Chester picked up harmonica licks from Rice Miller-Sonny Boy Williamson #2-when the harpist was romancing Wolf's sister. His family settled in the Delta in 1923, and the great Charley Patton gave him personal tutelage on guitar in '28. That's what I respected him for."īorn Jin White Station, Mississippi (near West Point), Burnett got his stage moniker from his grandfather (the impressively built lad also answered to Big Foot and Bullcow). "Wolf was not only a musician, he was an entertainer. "Wolf was the greatest that I've ever known,"says his longtime saxist Eddie Shaw. His wheezing harmonica was as distinctive as his unbeatable flair for showmanship he routinely rolled around the stage in simulation of sexual ecstasy or climbed the stage curtains like a deranged madman. Of course, the giant known as Howlin' Wolf possessed the most fearsome, feral vocal cords in the annals of electric postwar blues. For a guy who didn't see the inside of a recording studio until he was 40 years old, Chester Arthur Burnett certainly made up for lost time.
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