Howlin' Wolf - The London Howlin' Wolf Sessions (1971)

Many blues purists site a lack of authenticity as a reason to dismiss an artist's work but I refuse to participate in such snobbery. If performed well a hybrid arrangement adds unique freshness to an old piece of music.

The fact that the great blues singer, composer, and guitarist Chester Burnett (a.k.a Howlin' Wolf) flew to London in 1970 to record with a few of the hottest British Invasion all-stars of the day - most of them heavily influenced by the blues - shouldn't make the music any less compelling.

The participants on The London Howlin' Wolf Sessions include Eric Clapton on lead guitar, Steve Winwood on piano and organ, and three men with Rolling Stones connections: bassist Bill Wyman, drummer Charlie Watts, and pre-worldwide fame Stones' pianist, Ian Stewart.  Hubert Sumlin - Wolf's devoted longtime sideman - provided rhythm guitar throughout these sessions.

Even Ringo Starr proved he could play the blues on one track, "I Ain't Superstitious," where he is credited only as "Richie" on the original LP's liner notes. Klaus Voorman played bass on the same song.

Is this album the best Wolf ever recorded? No, it isn't. Even Clapton - who usually revels in his chances to work with the world's best bluesmen - dislikes this record, but it's better than many people have given Wolf credit for. Perhaps some of the criticism emanates from the fact that no new songs were included. It's mostly split equally between remakes of Wolf''s old classics and those of Willie Dixon.

Wolf provides his always perfectly appropriate scowling vocals and the British stars modernize the arrangements behind him. The standout is Winwood who colors these tracks with his usual virtuosity. Clapton is no slouch here either, but he's upstaged by his former Blind Faith bandmate.

If you want to hear Wolf's best work you'll have to experience his first two LPs, Moanin' In The Moonlight (1959), and his second eponymously titled set - better known as The Rocking Chair Album (1962) - but if you're fine listening to the blues colored by its then young English admirers you may find this album appeals to your senses.

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