– Elijah Wald, author of Escaping the Delta and Dylan Goes Electric "An important and compelling book about an important and compelling artist. – Michael Simmons, contributor to MOJO, author of liner notes for Michael Bloomfield: From His Head to His Heart to His Hands "David Dann has restored bluesman Michael Bloomfield's premier place in the pantheon as the very first American rock guitar god." – Jimmy Vivino, music director on Conan, leader of Jimmy Vivino and the Basic Cable Band It should be the final word on Michael Bloomfield's journey and his legacy." " Guitar Player is a must-read book for all guitar players and music fans alike. – Charlie Musselwhite, Grammy Award-winning blues harp player and band leader It's the best thing I've read about Mike Bloomfield and about the whole era." WHAT THEY'RE SAYING about Guitar King: Michael Bloomfield's Life in the Blues:
#Howlin wolf killing floor 1964 chords full#
With scenes that are as electrifying as Bloomfield’s music, this is the story of a life lived at full volume. In vivid chapters drawn from meticulous research, including more than seventy interviews with the musician’s friends, relatives, and band members, music historian David Dann brings to life Bloomfield’s worlds, from his comfortable upbringing in a Jewish family on Chicago’s North Shore to the gritty taverns and raucous nightclubs where this self-taught guitarist helped transform the sound of contemporary blues and rock music. Great as Rosco was, looks like Leonard won that round.Įlectric Blues 1939-2005.The Super Session album with Al Kooper and Stephen Stills, Bob Dylan’s "Highway 61 David DannRevisited," and soundtrack work with Peter Fonda and Jack Nicholson. 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. 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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