ALBUMS DE SLASH > Tout ce qu'il faut savoir sur la discographie de Slash

1. The Pusher (Wayne Hoyt Axton)
2. Crossroads (Robert Leroy Johnson)
3. Hoochie Coochie Man (Willie Dixon)
4. Oh well (Peter Alan Green)
5. Key to the Highway (Charles Segar, William Broonzy)
6. Awful Dream (Sam (Lightnin’) Hopkins, Clarence Lewis, C. Morgan Robinson)
7. Born Under a Bad Sign (William Bell and Booker T. Jones)
8. Papa Was a Rolling Stone (Barrett Strong, Jesse Norman Whitfield)
9. Killing Floor (Chester Burnett)
10. Living for the City (Stevie Wonder)
11. Stormy Monday (T. Bone Walker)
12. Metal Chestnut (Slash)

Hoochie Coochie Man

Written by Willie Dixon

Published by BMG Rights Management LLC

Vocal, Rhythm Guitar and Solo – Billy F. Gibbons

Rhythm Guitar (right) and Solos - Slash

Drums - Michael Jerome

Bass – Johnny Griparic

Rhythm Guitar (left) – Tash Neal

Keyboards - Teddy Andreadis

Harmonica – Les Stroud

Billy F Gibbons appears courtesy of Concord Records.

SLASH: “This is one of the sexiest songs, well, all of the Muddy Waters material is. One of the great things about Muddy Waters was there was a certain sexual quality to his voice, his tone, and his cadence. Then he added this insane fucking rhythm section that was just like, I don’t know, I can’t think of any music that’s really (excuse my French), but that you want to fuck to more. And, anyway, so I wanted to cover this particular song, but do it in a unique way… Because it’s a commonly covered riff and so many people have their own take on this particular very, very simple tune. It’s a rhythm and a certain kind of very simple three note pattern. We did a version of it that was as close to the original vibe that the Muddy Waters thing had. Our drummer who played on this record is Michael Jerome, and he’s got that groove really, really down and he was the perfect drummer to be able to put this together. Once the music was basically done, I’d always thought about Billy Gibbons doing the vocals. I chased Billy down and he added the vocals and some guitar in a studio in Palm Springs. That’s how it all came together. It’s very live, a very live sounding track, which is really cool. It sounds like you’re in a bar somewhere. I had Les Stroud play on harmonica. He’s a friend of mine and he was always talking about his harp playing and it turns out he’s a really fucking accomplished harp player. So, Les came down to our studio and put the harp on it.�