Big Heads

Bill Barners’ “Warm Patter For a Hot Platter”

Howlin’ Wolf - “The Real Folk Blues” Recorded in Chicago, Illinois between 1956 & 1965. (In the mid-’60s, Chess Records released a great series of compilations by some of its best blues artists, all of them called THE REAL FOLK BLUES) “Killing Floor,” “Built for Comfort”,”Three Hundred Pounds of Joy”, “Natchez Burning,” “Tail Dragger” and more.

Personnel: Howlin’ Wolf (vocals, guitar, harmonica); Hubert Sumlin*, Willie Johnson, Otis “Smokey” Smothers, Jody Williams (guitar); J.T. Brown (tenor saxophone); Donald Hankins (baritone saxophone); Johnny Jones, Lafayette Leake, Hosea Lee Kennard (piano); Willie Dixon, Buddy Guy, Andrew Palmer (bass); Sammy Lay, Earl Phillips, Junior Blackman (drums).

“Howlin’ Wolf ranks among the most electrifying performers in blues history, as well as one of its greatest characters. He was a ferocious, full-bodied singer whose gruff, rasping vocals embodied the blues at its most unbridled. A large man who stood more than six feet tall and weighed nearly 300 pounds, Howlin’ Wolf cut an imposing figure, which he utilized to maximum effect when performing. Howlin’ Wolf cut his greatest work in the Fifties for the Chicago-based Chess Records. Many songs with which he is most closely identified - “Spoonful,” “Back Door Man,” “Little Red Rooster” and “I Ain’t Superstitious” - were written for him by bluesmen Willie Dixon, a fixture at Chess Records who also funneled material to Wolf’s main rival, Muddy Waters. Howlin’ Wolf himself was an estimable songwriter, responsible for such raw classics as “Killing Floor,” “Smokestack Lightning” and “Moanin’ at Midnight.”

In 1910, Howlin’ Wolf was born on a Mississippi plantation in the midst of a blues tradition so vital it remains the underpinning for much of today’s popular music. His birth name was Chester Arthur Burnett; “Howlin’ Wolf” was a nickname he picked up in his youth. He was exposed to the blues from an early age through such performers as Charley Patton and Willie Brown, who performed at plantation picnics and juke joints. Wolf derived his trademark howl from the “blue yodel” of country singer Jimmy Rodgers whom he admired. Although he sang the blues locally, it wasn’t until he moved to West Memphis in 1948 that he put together a full-time band. Producer Sam Phillips recorded Howlin’ Wolf at his Memphis Recording Service (later Sun Records) after hearing him perform on radio station KWEM. Some of the material was leased to Chess Records, and in the early Fifties Howlin’ Wolf signed with Chess and moved to Chicago. He remained there until his death. (The Rock and Roll Hall of Fame)

*On a personal note, I just saw Hubert Sumlin playing an all Howlin’ Wolf set with a group including David Johansen and James Blood Ulmer - it killed!

Have you met Miss Jones?  This is “the great” Grace Bumbry from Kerstan in Germany.

Thanks to Reineke Kerstan for sending to us!

Smoker Stories by “Mr. Entertainment’ Bub Thomas.  Recorded at the Original “Roaring Twenties” in Torrence, California.  “Blue”/adult comedy bits.  Great great cover art!

Parliament FUNKADELIC.  Westbound Records.

At some record show years ago, it struck me after looking through rows and rows of records that there was a tendency on the part of some cover designers to just make the singer’s, (or model’s), head as big as possible on the 12″ x  12″ cover area.   No doubt people are drawn to faces and big eyes, but is this face really going to sell records?

Another big head cover.  Sometimes the effect can be a little Land of the Giants - like.