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Howlin’ Wolf “Howlin’ Wolf” (aka The Rockin’ Chair Album), 1962. Chess Records (original pressing). Today, June 10th, would have been Howlin’ Wolf’s 110th birthday (b. Chester Arthur Burnett, 1910, d. 1976). One of the most important and influential artists of all-time, I think it’s safe to say that modern blues-based/classic rock-n-roll would literally not exist with Howlin’ Wolf: his dangerous style and slinky slide guitar — and also would  not exist without the writer of most of the songs on the LP: Willie Dixon. The Rockin’ Chair Album is a collection of 12 singles released by Howlin’ Wolf on Chess Records between 1960 and 1962. Many of the tracks have become blues and rock standards over the years. “The Red Rooster” (Dixon) has been covered many times over the years, including by Sam Cooke (#7 R&B chart, #11 Hot 100 chart) and The Rolling Stones (#1 UK). “Wang Dang Doodle” (Dixon) was covered by Koko Taylor (#13 R&B chart, #58 Hot 100), The Pointer Sisters, The Grateful Dead and even P.J. Harvey. “Back Door Man” (Dixon) is probably the most quintessential blues-rock track ever. The Doors included it on their debut LP and it has also been covered by many other artists from Quicksilver Messenger Service to Iggy Pop and Soul Asylum; its lyrics were used in Led Zeppelin’s “Whole Lotta Love” — they also used lyrics from Howlin’ Wolf’s “Shake For Me” (1964, not on this LP). Cream included “Spoonful” (Dixon) on Fresh Cream and on Wheels of Fire. I also really like “You’ll Be Mine,” “Little Baby” and “Down in the Bottom.”  In 1986 Howlin’ Wolf won the Blues Music Award from the The Blues Foundation and it’s been included on several greatest of all-time records lists, including Rolling Stones’ and Mojo’s.

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Allmusic says about Bo Diddley “For anyone who wants to play rock & roll, real rock & roll, this is one of the few records that you really need. Along with Chuck Berry, Elvis, Little Richard, Jerry Lee Lewis, Muddy Waters, B.B. King, and a few select others, Bo Diddley was one of the founders of the form – and he did it like no other. Diddley had only one real style, that being the Bo Diddley beat: a syncopated, rhythmic drive, loaded with tremolo. There are 12 examples of it on this record, and that is about all you need. It’s one of those records that, after listening to just a few cuts, will find you tapping the beats on every available surface. Diddley’s guitar and vocals have a gruff feeling that recalls bluesmen such as Waters, yet he has his own style. Buttressed by drums, funky piano, and usually maracas, it’s absolutely infectious. This is one of the greatest rock sounds that you’re likely to hear, and it’s all on this one record, too.” It’s true! My favorites are “Bo Diddley,” “I’m A Man,” “Hey’ Bo Diddley,” “Hush Your Mouth,” “Diddey Wah Diddey,” “Who Do You Love” and “Pretty Thing`,” many of which have been covered by lots of other great groups over the years (ie Buddy Holly, The Who, Grateful Dead, Captain Beefheart, Ty Segall, The Jesus and Mary Chain and JD McPherson.

We got a chance to see Bo Diddley back in 2003 at Summerfest in Milwaukee. He performed at one of the smaller side stages to maybe a hundred people in the middle the afternoon. Since it’s been awhile, I don’t remember too much about the set but I do remember him doing some kind of rapping about convincing kids not to do drugs. That was weird, but I’m grateful I got a chance to see this legend play live.

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