"Wang Dang Doodle" | ||||
---|---|---|---|---|
Single by Howlin' Wolf | ||||
from the album Howlin' Wolf | ||||
B-side | "Back Door Man" | |||
Released | 1961 | |||
Recorded | 1960 | |||
Studio | Chess, Chicago | |||
Genre | Blues | |||
Length | 2:20 | |||
Label | Chess | |||
Songwriter(s) | Willie Dixon | |||
Producer(s) |
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Howlin' Wolf singles chronology | ||||
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"Wang Dang Doodle" is a blues song written by Willie Dixon. Music critic Mike Rowe calls it a party song in an urban style with its massive, rolling, exciting beat. [1] It was first recorded by Howlin' Wolf in 1960 and released by Chess Records in 1961. In 1965, Dixon and Leonard Chess persuaded Koko Taylor to record it for Checker Records, a Chess subsidiary. Taylor's rendition quickly became a hit, reaching number thirteen on the Billboard R&B chart and number 58 on the pop chart. [2] "Wang Dang Doodle" became a blues standard [3] and has been recorded by various artists. Taylor's version was added to the United States National Recording Registry in 2023. [4]
"Wang Dang Doodle" was composed by Willie Dixon during the second part of his songwriting career, from 1959 to 1964. [5] During this period, he wrote many of his best-known songs, including "Back Door Man", "Spoonful", "The Red Rooster" (better-known as "Little Red Rooster"), "I Ain't Superstitious", "You Shook Me", "You Need Love" (adapted by Led Zeppelin for "Whole Lotta Love"), and "You Can't Judge a Book by the Cover". [5] In his autobiography, Dixon explained that the phrase "wang dang doodle" "meant a good time, especially if the guy came in from the South. A wang dang meant having a ball and a lot of dancing, they called it a rocking style so that's what it meant to wang dang doodle". [5] Mike Rowe claimed that Dixon's song is based on "an old lesbian song" – "The Bull Daggers Ball" – with "its catalogue of low-life characters only marginally less colourful that the original". [6] Dixon claimed that he wrote it when he first heard Howlin' Wolf in 1951 or 1952 but that it was "too far in advance" for him and he saved it for later. [7] However, Wolf supposedly hated the song and commented, "Man, that's too old-timey, sound[s] like some old levee camp number": [8]
Tell Automatic slim, to tell razor totin' Jim
To tell butcher knife totin' Annie, to tell fast talkin' Fannie ...
We gonna pitch a wang dang doodle all night long [9]
Howlin' Wolf recorded the song in June 1960 in Chicago during the same sessions that produced "Back Door Man" and "Spoonful". [10] Backing Howlin' Wolf on vocals are Otis Spann on piano, Hubert Sumlin on guitar, Dixon on bass, and Fred Below on drums. [10] Freddy King has been identified as possibly a second guitarist. [10] In 1961, Chess issued the song as the B-side to "Back Door Man"; neither song appeared on the record charts. [11] Both songs are included on Howlin' Wolf's popular 1962 compilation album Howlin' Wolf , also called The Rockin' Chair Album, [12] and many subsequent compilations. He later re-recorded it with Sumlin (rhythm guitar), Jeffrey Carp (harmonica), Eric Clapton (lead guitar), Ian Stewart (piano), Bill Wyman (bass) and Charlie Watts (drums) for The London Howlin' Wolf Sessions (1971). [13] The re-recording is at a slower tempo than both the original and the Koko Taylor hit version and includes a new guitar riff not heard in those earlier versions.
On June 30, 1964, Willie Dixon brought Koko Taylor to Chess Records, where she recorded "What Kind of Man Is That?". During her next session, on December 7, 1965, she recorded "Wang Dang Doodle". Backing vocalist Taylor were Gene Barge and Donald Hawkins on saxophones, Lafayette Leake on piano, Buddy Guy and Johnny "Twist" Williams on guitars, Jack Meyers on bass guitar, Fred Below on drums, and Willie Dixon singing with Taylor. [14] Her version was released in early 1966 and peaked at number four on Billboard magazine's R&B singles chart and number 58 on the Hot 100. [2]
In 1995, Taylor's rendition was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recording – Singles or Album Tracks" category. [15] The Foundation noted that the song was the last blues single produced by Dixon to reach the record charts, and "became Koko Taylor's signature crowdpleaser, inspiring singalongs to the 'all night long' refrain night after night". [15]
Taylor's version of "Wang Dang Doodle" was selected by the Library of Congress for preservation in the National Recording Registry in 2023. [16]
Chuck Berry, Bruce Hornsby, John Popper, Bob Weir of the Grateful Dead and Willie Dixon's daughter, Shirley Dixon, performed "Wang Dang Doodle" in tribute to Willie Dixon at the 1994 Rock & Roll Hall of Fame induction ceremony. [17]
Love Sculpture recorded a version for their 1968 album Blues Helping. An AllMusic album review noted "what makes this album worthwhile is the revved-up guitar playing, especially when Edmunds shreds both Freddy King's 'The Stumble' and Willie Dixon's 'Wang Dang Doodle'". [18]
In 1971, a version by Savoy Brown was recorded for their album Street Corner Talking . It was the group's first album after a nearly complete lineup change and their rendition was described in an album review as one of the "solid examples of the group's blues-rock power ... a slick cover". [19]
The Pointer Sisters' version of "Wang Dang Doodle" was released as the follow-up single to "Yes We Can Can" and was included on their 1973 self-titled debut album. The single peaked at number 24 on Billboard's Hot Soul Singles and number 61 on its Hot 100 charts. [20]
{{cite AV media notes}}
: CS1 maint: others in cite AV media (notes) (link)William James Dixon was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues.
Chester Arthur Burnett, better known by his stage name Howlin' Wolf, was an American blues singer and guitarist. He was at the forefront of transforming acoustic Delta blues into electric Chicago blues, and over a four-decade career, recorded blues, rhythm and blues, rock and roll, and psychedelic rock. He is regarded as one of the most influential blues musicians of all time.
Koko Taylor was an American singer whose style encompassed Chicago blues, electric blues, rhythm and blues and soul blues. Sometimes called "The Queen of the Blues", she was known for her rough, powerful vocals. Over the course of her career, she was nominated for 11 Grammy Awards, winning 1985's Best Traditional Blues Album for her appearance on Blues Explosion.
"Back Door Man" is a blues song written by American musician Willie Dixon and recorded by Howlin' Wolf in 1960. The lyrics draw on a Southern U.S. cultural term for an extramarital affair. The song is one of several Dixon-Wolf songs that became popular among rock musicians, including the Doors who recorded it for their 1967 self-titled debut album.
Howlin' Wolf is the second album from the Chicago blues singer/guitarist/harmonicist, Howlin' Wolf. It is a collection of twelve singles previously released by the Chess label from 1960 through 1962. Because of the illustration on its sleeve, the album is often called The Rockin' Chair Album, a nickname even added to the cover on some reissue pressings of the LP.
"Goin' Down Slow" or "Going Down Slow" is a blues song composed by American blues singer St. Louis Jimmy Oden. It is considered a blues standard and "one of the most famous blues of all".
"Spoonful" is a blues song written by Willie Dixon and first recorded in 1960 by Howlin' Wolf. Called "a stark and haunting work", it is one of Dixon's best known and most interpreted songs. Etta James and Harvey Fuqua had a pop and R&B record chart hit with their duet cover of "Spoonful" in 1961, and it was popularized in the late 1960s by the British rock group Cream.
"Smokestack Lightning" is a blues song recorded by Howlin' Wolf in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it.
"Rollin' and Tumblin'" is a blues standard first recorded by American singer-guitarist Hambone Willie Newbern in 1929. Called a "great Delta blues classic", it has been interpreted by hundreds of Delta and Chicago blues artists, including well-known recordings by Muddy Waters. Rock musicians usually follow Waters' versions, with the 1960s group Cream's rendition being perhaps the best known.
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.
"Hide Away" or "Hideaway" is a blues guitar instrumental that has become "a standard for countless blues and rock musicians performing today". First recorded in 1960 by Freddie King, the song became a hit on the record charts. It has been interpreted and recorded by numerous blues and other musicians and has been recognized by the Rock and Roll Hall of Fame and the Grammy Hall of Fame.
"Sitting on Top of the World" is a country blues song written by Walter Vinson and Lonnie Chatmon. They were core members of the Mississippi Sheiks, who first recorded it in 1930. Vinson claimed to have composed the song one morning after playing at a white dance in Greenwood, Mississippi. It became a popular crossover hit, and was inducted into the Grammy Hall of Fame in 2008.
"Little Red Rooster" is a blues standard credited to arranger and songwriter Willie Dixon. The song was first recorded in 1961 by American blues musician Howlin' Wolf in the Chicago blues style. His vocal and slide guitar playing are key elements of the song. It is rooted in the Delta blues tradition and the theme is derived from folklore. Musical antecedents to "Little Red Rooster" appear in earlier songs by blues artists Charlie Patton and Memphis Minnie.
I Am the Blues is the sixth studio Chicago blues album released in 1970 by the well-known bluesman Willie Dixon. It is also the title of Dixon's autobiography, edited by Don Snowden.
"I Ain't Superstitious" is a song written by bluesman Willie Dixon and first recorded by Howlin' Wolf in 1961. It recounts various superstitions, including that of a black cat crossing the pathway. The song has been recorded by a number of artists, including Jeff Beck, whose blues rock adaptation in 1968 was named one of Rolling Stone magazine's "100 Greatest Guitar Songs of All Time".
"Evil", sometimes listed as "Evil (Is Going On)", is a Chicago blues song written by Willie Dixon. Howlin' Wolf recorded the song in Chicago for Chess Records in 1954. It was included on the 1959 compilation album Moanin' in the Moonlight. When he re-recorded it for The Howlin' Wolf Album in 1969, "Evil" became Wolf's last charting single, reaching number 43 Billboard R&B chart.
Joseph Leon "Jody" Williams was an American blues guitarist and singer. His singular guitar playing, marked by flamboyant string-bending, imaginative chord voicings and a distinctive tone, was influential in the Chicago blues scene of the 1950s.
"Forty-Four" or "44 Blues" is a blues standard whose origins have been traced back to early 1920s Louisiana. However, it was Roosevelt Sykes, who provided the lyrics and first recorded it in 1929, that helped popularize the song. "Forty-Four," through numerous adaptations and recordings, remains in the blues lexicon eighty years later.
"Hey Lawdy Mama" is a Piedmont blues song recorded by Buddy Moss in 1934. The song became popular among jazz musicians with early recordings by Count Basie and Louis Armstrong. In 1943, a version recorded by Andy Kirk and His Twelve Clouds of Joy, with vocals by June Richmond, was a hit, reaching number four on the Billboard R&B chart.
Koko Taylor is the 1969 debut album by American blues singer Koko Taylor, released on MCA/Chess Records. It has received positive critical reception.