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day, it wasn't modern type blues it was more like, we call it cotton field blues, like Muddy Waters and Howlin' Wolf and people like this. That's the kind I, I listen to because it was simple and but there was a lot of feeling, , ah, it had two studios, in the studio, it had a front studio and it had a back studio in the back. So we played on the front studio and, ah, Wolf, Howlin' Wolf and the blacks played in the back. And, ah, the control room, playing with a country band and went out to KWEM radio in West Memphis to play with Howlin' Wolf there. Ah, I was playing in a country band and this band we'd been playing around Memphis in clubs on weekends and stuff like this

the Howling Wolf, Chester Burnett, that was one of the greatest guys to record I have ever in my life recorded. And this is of course the million dollar quartet. Now that would be, now you would call it the billion dollar quarter, I mean

-- like when you, like when we recorded "Moanin' At Midnight" for Chess, as soon as Chess give us the money for it, and give Wolf, Howlin' Wolf the money for it, well, Modern Record Company come in and give us some more money and we, Howlin' Wolf, uh, or something like that, but it wasn't like they was, they wasn't going to Woolworth's and different stores to buy it. But where, where this particular record they did. Any idea why, . And Wolf? I don't know where Wolf is from. See, I found a lot of those acts back in those days, but I didn't know who they were, uh, uh, uh, uh -- see, I didn't even know who Little Walter was back in those days

's a sort, it's a very curious little aspect of racism in my opinion which is this, to hear Muddy Waters or Howlin' Wolf deliver and impassioned Chicago blues is one thing. For a little white girl from Teaneck or Scarsdale

of a liking to this kind of music because I think even B.B. King came through there, Howlin’ Wolf came through and, and there were people who later were, were notables in, in, in the profession so he had to have some kind of a feeling. But he

Company. So he wanted me to scout for talent with him. And this is when we cut Howlin' Wolf, and we cut, we recorded, uh, uh, well I have to play a little of the song man. Because I remember it was just like yesterday. It's like my fingers now, you look at my fingers like this, it fits exactly on the piano, exactly, and, and, uh, and we cut that song, and uh, we cut that song. Well, I forgot, anyway, I know -- "How Many More Years" by Howlin' Wolf. So we cut