But all of the anguished lyric's malevolence is directed inward he's the one on the chopping block: "I should'a quit you, long time ago/I should'a quit you, baby, long time ago/I should'a quit you, and went on to Mexico.I should'a went on/when my friend come from Mexico at me I was foolin' with you baby/I let you put me on the killing floor. The imposing Wolf sounds like the proverbial freight train derailing. By the time that the mighty, bellowing Wolf - an established blues star for nearly 30 years at the time of the session - opens his mouth, it becomes clear that those who follow in his wake and dare to cover the song do so at their own peril, setting a Herculean task for themselves.
#Howlin wolf killing floor professional#
We have an official Killing Floor tab made by UG professional guitarists.Check out the tab ». 1 contributor total, last edit on Oct 05, 2016.
It is the sort of rave-up that dispels the narrator's case of the blues rather than wallowing in them. 69,964 views, added to favorites 608 times. In between verses, a two-sax horn section of Arnold Rogers (tenor) and Donald Hankins (baritone) plays soul-revue stabs. Lafayette Leak pokes away eighth notes on the high register of the piano. Buddy Guy's acoustic slaps back rhythmically, rockabilly style, through tape echo. The sheer joy in the band's performance is palpable and contagious. It is all a red herring the original 1964 Chess recording of "Killing Floor" obliterates any need for covers or amalgams that use the driving riff this is the real thing. But you can't copyright a lick, as many rock & roll artists have long known, and many bluesmen were as guilty as anyone else in stealing inspiration witness, for example, the confusion over just exactly who was the real Sonny Boy Williamson. So when Zeppelin (generally among the most dubious of rock acts in the practice borrowing without acknowledging, though they do give credit here) lifted material from the masters of the genre, often they were doing so little more than five years out from an original. The guitar riff from Howlin' Wolf's foil Hubert Sumlin is instantly familiar and has been endlessly co-opted by rock acts who have stolen it for their "own" blues-rock compositions or covered it directly, as did Jimi Hendrix, Mike Bloomfield's Electric Flag, and famously by Led Zeppelin as "The Lemon Song." It is usually a surprising thing for many casual fans of the blues to hear that many such classics from Chicago, and Chess Records specifically, like well-known songs from Muddy Waters, John Lee Hooker, and Wolf, were recorded so late in the 1950s and '60s. But all of the anguished lyric's malevolence is directed inward he's the one on the chopping block: "I should'a quit you, long time ago/I should'a quit you, baby, long time ago/I should'a quit you, and went on to Mexico.I should'a went on/when my friend come from Mexico at me I was foolin' with you baby/I let you put me on the killing floor.This is one of the defining classics of Chicago electric blues. It is the sort of rave-up that dispels the narrator's case of the blues rather than wallowing in them.
This is one of the defining classics of Chicago electric blues.
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