Hubert Sumlin
Every great frontman needs a guitarist sidekick, right? Howlin’ Wolf may have basked in all the glory but his sideman guitarist, Hubert Sumlin, was an invaluable member of his team.
Howlin’ Wolf had a very professional attitude towards his music. He didn’t drink on stage and expected the same from his band. It was an employer-employee relationship. So much so that Wolf put his players on a health plan.
Sumlin had made himself known to Howlin’ Wolf in Mississippi before he moved to Chicago. Eventually Wolf was in the market for a new recruit to his band. He sent Otis Spann (Muddy Waters band member) to collect the young guitarist and bring him up to the windy city.
If you believe the fictionalised account portrayed in the movie Cadillac Records, Muddy Waters was extremely impressed with Sumlin and sought to steal him from Howlin’ Wolf. While he did do a short stint with Water’s band, it may be an over exaggeration to say that there was bad blood between Wolf and Waters over the short tenure.
It is true, however, that Sumlin was a very highly regarded guitarist. He was once ranked 43 in the top 100 guitarists of all time in Rolling Stone. His playing on Howlin’ Wolf’s rocking chair album, has put the record onto many “must have” blues album lists.
Let’s look at some of Hubert Sumlin’s best work.
Smokestack Lightnin'
One of the most iconic riffs in blues history.
The Wolf’s right hand man was asked to come up with a riff for this song which was already written. It’s hard to imagine Smokestack Lightning any other way such is the effect it has on the tune.
A one chord drone with a riff that doesn’t quit. The amount of times this has been covered by all styles of artists is mind boggling. Even Soundgarden had a go at it on their debut album Ultramega OK.
Shake For Me
The lick that precedes the walking bass line is key to this song. It punctuates each line like an arrow head on a shaft that’s straight and true.
In true Sumlin fashion, the lead licks are never predictable. It’s the space he leaves that says as much about his style than the notes he injects. Less is more sometimes and Sumlin had the patience of an alligator underwater by the edge of a river. He knew just when to breach the surface and strike.
When he gets the chance for an instrumental break, he makes the most of it. Hubert Sumlin’s playing must have made the white boys across the Atlantic drool with his shimmering and cascading bends.
This song demonstrates how Sumlin was inimitable yet highly inspirational all at once.
You'll Be Mine
This one was another Willie Dixon penned song for Howlin’ Wolf that had a catchy rhythm during verses and an even catchier chorus.
The dual guitars of Hubert Sumlin and Jody Williams stay on a similar path for the most part. Sumlin strays from the path just a little with some subtle variances in the rhythm but this adds some texture to the song.
When the lead break comes, it’s not over the top in any way. There’s plenty going on but the dynamics in Sumlin’s playing show restraint enough to make it as tasteful as it is pretty.
Spoonful
Eric Clapton (who covered this song in Cream) once stated that it would be possible to perform a one note lead solo. His caveat was that the single note would have to be played with the right sincerity.
I get the feeling he was talking about Hubert Sumlin when he made that bold claim. Especially when you listen to the way he wrings lone notes out of his guitar throughout this song.
Spoonful already carries a menacing tone but Sumlin still manages to pile gravity and atmosphere on top with his sparse playing. One of the double note licks he plays at the end of the second verse conjures up a feeling of surprise. Like you are walking through a forest and something evil jumps out from behind a tree.
Only Hubert Sumlin could steal the spotlight on menace that Howlin’ Wolf brings to a song. Even if it’s only a fleeting moment.
Evil
You have to sift through the current of this track to extract the guitar ‘gold’ within. Sumlin’s nuggets are under a swirling stream of stabbing drums, tinkling piano and harp turnarounds. There’s flecks and bigger rocks that shine through but they all add up to a rich contribution to the song.
Sumlin finds openings wherever they present themselves. Whether it’s a seemingly random lick between lines or a delicious run up to the next chord it’s always tasteful.
The interplay between Sumlin’s tasty licks and Jody Williams’ juicy chord voicings, is like secret herbs and spices on tender chicken.
Killing Floor
This song starts where Shake For Me left off. That lick at the start of the run suddenly becomes supercharged with a descending run on guitar.
The boxy tone is striking and demands your attention. This track was released a few years after the previous songs in this list and recording technology had improved enough to capture the guitar sound accurately.
It’s no wonder that folks like Hendrix and Led Zeppelin decided to cover this song. The driving riff and beat lends itself to a heavier version.
Check out the playlist here ===> Hubert Sumlin – The Wolf’s Right Hand Man Playlist
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