Howlin Wolf London Sessions

The documentary Willie Dixon: I Am the Blues examines the remarkably influential career of musician Willie Dixon. In addition to an explanation of how his work for Chess records revolutionized blues and rock & roll, the man performs eight songs, including "Wang Bang Doodle," "I Just Want to Make Love to You," and "I Got the Blues."
Willie Dixon's life and work was virtually an embodiment of the progress of the blues, from an accidental creation of the descendants of freed slaves to a recognized and vital part of America's musical heritage.

Hubert Sumlin - I Know You (1998)
Blues | MP3 320 Kbps | 124 MB
Publisher: Acoustech

This is arguably the first musically indispensable album that Hubert Sumlin has done since Howlin' Wolf died some 23 years ago. That isn't to say that he hasn't done some good albums before this, just that I Know You has a degree of urgency, coupled with remarkable ease, that makes it a real delight. The result is a record that compares very favorably with Wolf's London Sessions record as a mix of old and new. Sumlin will never sound like Wolf as a singer, but he can't help sounding like him in every other way, since it was Wolf's guitar on practically every cut after 1954; but he does his best with a limited voice and a hot guitar to deliver some superb electric blues. Whether he's acknowledging Elmore James, Jimmy Reed, or John Lee Hooker, or paying tribute to Wolf himself ("How Many More Years," in a killer interpretation), Sumlin sounds like he's having great fun grinding and crunching away on his instrument. He even turns in a surprisingly strong vocal and guitar performance on a familiar piece of subdued blues, "That's Why I'm Gonna Leave You." There is a little dross here — Sumlin doesn't do all that well stepping into John Lee Hooker territory; but generally, I Know You is a record that should please any fan of the Wolf or Sumlin (or, for that matter, James or Reed), with two tracks, "I'm Not Your Clown" and "Smokestack" (based on guess which song), indispensable to fans of hot blues guitar. Playing with him are Sam Lay (drums) and Carrie Bell (harp), with Jimmy D. Lane on second guitar and David Krull at the piano and organ.

This is arguably the first musically indispensable album that Hubert Sumlin has done since Howlin' Wolf died some 23 years ago. That isn't to say that he hasn't done some good albums before this, just that I Know You has a degree of urgency, coupled with remarkable ease, that makes it a real delight. The result is a record that compares very favorably with Wolf's London Sessions record as a mix of old and new. Sumlin will never sound like Wolf as a singer, but he can't help sounding like him in every other way, since it was Wolf's guitar on practically every cut after 1954; but he does his best with a limited voice and a hot guitar to deliver some superb electric blues.

This is arguably the first musically indispensable album that Hubert Sumlin has done since Howlin' Wolf died some 23 years ago. That isn't to say that he hasn't done some good albums before this, just that I Know You has a degree of urgency, coupled with remarkable ease, that makes it a real delight. The result is a record that compares very favorably with Wolf's London Sessions record as a mix of old and new. Sumlin will never sound like Wolf as a singer, but he can't help sounding like him in every other way, since it was Wolf's guitar on practically every cut after 1954…..

George remained active throughout the 60's and from 1966 he performed mainly in Houston and New Orleans. He worked extensively with the late Cousin Joe Pleasant and Roosevelt Sykes in New Orleans and the great Sam "Lightnin'" Hopkins in Houston. George appears as a sideman on a number of sides with Lightnin' Hopkins, the best known of which being the album on the Jewel label entitled "TALKING SOME SENSE". He was next signed to a contract by the Mercury label; in fact George observes, "The record companies always wanted me to sign an exclusive contract, and their people always met me with a paper their hand…..

Revered for his "Dust My Broom" riff, the biggest slide guitarist in postwar blues was a major link between traditional Delta and modern Chicago blues.