“Susie Q” by Dale Hawkins is more than just a catchy tune; it’s a landmark recording that bridges the gap between rockabilly, electric blues, and foreshadows the swamp rock sound. Released in 1957, the song became Hawkins’ signature hit and has resonated through generations, inspiring countless musicians, including The Rolling Stones and Creedence Clearwater Revival. This article delves into the history of “Susie Q,” exploring its origins, musical influences, and enduring legacy in the landscape of rock and roll.
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Dale Hawkins: From Louisiana Shack to Rockabilly Pioneer
Born Delmar Allen Hawkins in 1936, Dale Hawkins’ musical journey began far from the glitz and glamour of rock and roll. Growing up in Shreveport, Louisiana, Hawkins immersed himself in the raw sounds of the blues. He famously lived in a shack in the black part of town, his humble abode housing little more than a camp bed, a record player, and a vast collection of 78RPM blues records. This deep dive into blues music shaped his musical sensibilities, even as he navigated the predominantly country music scene of Shreveport.
While blues was his passion, Hawkins was no stranger to country music. He admired artists like Hank Williams and Jimmie Rodgers, and even hitchhiked with his brother to see Flatt and Scruggs perform. His family also had country music roots; his father, Delmar Hawkins Sr., was rumored to be an early member of the Sons of the Pioneers, the group that propelled Roy Rogers to fame.
Dale Hawkins performing with his guitar.
Despite these country connections, Hawkins identified deeply with the blues. This distinction is crucial when understanding “Susie Q,” a song often categorized as rockabilly, a label Hawkins himself resisted. He saw himself as a bluesman venturing into the burgeoning world of rock and roll. His early career involved various jobs, including a stint as a sailor, before music fully captured his attention. He teamed up with Sonny Jones, a local guitarist with connections to the Louisiana Hayride, a renowned country music show that served as a launching pad for Elvis Presley and many others.
Hawkins’ initial involvement with the Hayride was not on stage, but in the parking lot, where he and his brother charged for parking – unbeknownst to the drivers, the parking was actually free. Simultaneously, Hawkins worked at Stan’s Record Shop, owned by Stan Lewis. This job was pivotal, placing him at the heart of the music scene. His encyclopedic knowledge of blues and R&B records impressed customers, including blues legend B.B. King, who became a lifelong friend. More importantly, it solidified his relationship with Stan Lewis, a figure who would significantly impact Hawkins’ career.
The Genesis of “Susie Q”: From Demo to Hit Record
Stan Lewis was not just a record shop owner; he was also a talent scout for Chess Records and a significant distributor in the region. Recognizing Hawkins’ talent, Lewis facilitated his entry into the recording world. In 1956, Hawkins, along with guitarist James Burton and other musicians, entered the studio with engineer Merle Kilgore to record a demo. This demo featured an early version of “Susie Q,” already containing the song’s core elements, albeit with a saxophone solo and a slightly less defined guitar part by Burton.
Initially intended as Hawkins’ debut single, Stan Lewis had a different strategy. Chess Records, primarily known for black artists, had recently found success with a white artist, Bobby Charles, on their Checker subsidiary with “Later, Alligator.” Lewis saw an opportunity for Hawkins and suggested he create an “answer song” to capitalize on this trend. This led to “See You Soon, Baboon,” a soundalike track that Hawkins quickly demoed.
Checker Records released “See You Soon, Baboon,” making a few notable alterations. They added a Tarzan-like yodel at the beginning and end, misspelled Hawkins’ first name as “Dale” (which stuck), and controversially, removed Hawkins’ songwriting credit, assigning it to Stan Lewis and Eleanor Broadwater (wife of DJ Gene Nobles, who provided the yodel).
Despite the questionable credits and lack of royalties for Hawkins initially, he and his band moved forward, recording a refined version of “Susie Q.” This time, Hawkins received partial songwriting credit alongside Lewis and Broadwater. However, the controversy surrounding songwriting credits persists, with disagreements about the contributions of various individuals, particularly guitarist James Burton, who is widely credited with creating the iconic guitar riff. Regardless of the disputes, “Susie Q” emerged as a song born from collaboration and perhaps, a bit of record industry maneuvering.
Deconstructing “Susie Q”: A Blend of Blues, R&B, and Dance
The musical architecture of “Susie Q” is a fascinating blend of influences. The song’s foundation draws heavily from the blues, particularly Muddy Waters’ “Baby Please Don’t Go,” which shares a similar melodic structure and interplay with the guitar riff. Another melodic inspiration came from The Clovers’ “I’ve Got My Eyes on You.”
The distinctive guitar riff, attributed to James Burton, is often compared to the work of Howlin’ Wolf. While not a direct copy, it evokes the raw, rhythmic intensity found in Wolf’s tracks like “Smokestack Lightnin'” and “Spoonful.” However, “Susie Q” forges its own identity, combining these blues elements with a rockabilly energy.
Beyond its blues and R&B roots, the song’s title itself might be linked to the “Suzie Q” dance, a popular step from the Lindy Hop era, popularized by a song by Lil Hardin Armstrong, Louis Armstrong’s former wife. This dance connection adds another layer to the song’s rhythmic and engaging nature.
A pivotal element in “Susie Q”‘s sound is the use of the electric bass. Unlike typical rockabilly recordings of the time that featured the double bass, “Susie Q” employed an electric bass, played by Sonny Trammell. This was a conscious choice by Hawkins to emulate the sound of electric blues records, further distancing “Susie Q” from traditional rockabilly and pushing it towards a new sonic territory. Ironically, Willie Dixon, the bassist on many Chess blues records, achieved a similar sound with a double bass by miking it in a specific way.
The stripped-down instrumentation of the final recording—guitar, bass, drums, and the prominent cowbell—further emphasizes the song’s raw, driving energy. Ronnie Lewis, Stan Lewis’s fifteen-year-old brother, played drums on the released version, replicating the part originally created by A.J. Tuminello on the demo, which featured a distinctive simultaneous drum and cowbell rhythm. Engineer Bob Sullivan, accustomed to recording country artists, captured the raw energy of the song in just four takes, although he felt Hawkins chose an earlier take for release, capturing a moment where the vocal levels were still being adjusted, adding to the song’s somewhat untamed feel.
“Susie Q”‘s Enduring Impact: Paving the Way for Swamp Rock and Beyond
“Susie Q” wasn’t just a hit; it was a harbinger of change. While initially labeled as rockabilly, the song’s electric blues influence, driven by the electric bass and Chess-inspired guitar riffs, set it apart. It arguably marked the first instance of a white rock and roller drawing significant inspiration from Chicago blues artists like Muddy Waters and Howlin’ Wolf, foreshadowing the British Invasion bands of the 1960s. Groups like The Rolling Stones, The Animals, and Canned Heat, who embraced electric blues, were, in a sense, following a path paved by Dale Hawkins and “Susie Q.” The Rolling Stones themselves covered “Susie Q,” a testament to its enduring influence.
Despite its groundbreaking sound, Chess Records initially hesitated to release “Susie Q,” holding onto the master for ten months. It was only after Jerry Wexler of Atlantic Records expressed interest in releasing the song that Chess finally put it out on Checker Records. “Susie Q” climbed to number seven on the R&B charts and number twenty-seven on the pop charts, solidifying its commercial success and lasting impact.
James Burton, the guitarist behind the iconic riff, left Hawkins’ band shortly after the recording. He went on to become one of the most influential guitarists in rock music, working with Bob Luman, Ricky Nelson, and later becoming a sought-after session player for artists ranging from The Monkees to Elvis Presley. Hawkins continued to work with talented guitarists, including Roy Buchanan and Joe Osborn, the latter playing on Hawkins’ minor hit “La-Do-Dada” before becoming a prominent session bassist with the Wrecking Crew.
While Hawkins never replicated the massive success of “Susie Q,” the song remains his defining moment. He experimented with various musical trends throughout his career, even releasing novelty twist songs. He also transitioned into television, hosting “The Dale Hawkins Show,” and later worked as a record producer for Stan Lewis’s labels.
In 1968, Creedence Clearwater Revival’s extended, swamp-rock infused cover of “Susie Q” reintroduced the song to a new generation and further cemented its status as a rock classic. This renewed interest prompted Hawkins to briefly return to recording, collaborating with James Burton and Joe Osborn, along with blues musicians like Taj Mahal and Ry Cooder, on the album “LA, Memphis, and Tyler, Texas,” embracing the swamp rock style he inadvertently helped create.
Dale Hawkins’ career was a mix of highs and lows, marked by personal struggles, including an amphetamine addiction. However, he persevered, eventually earning a master’s degree and returning to music, releasing the critically acclaimed album “Wildcat Tamer” in 1998. He continued to perform until his death in 2010.
Conclusion: The Lasting Echo of “Susie Q”
Dale Hawkins remains a paradoxical figure in rock and roll history. He was a raw, instinctive rock and roller who crafted his biggest hit from a careful blend of existing musical ideas. He pointed towards the future of rock by drawing inspiration from the blues, a path that would be widely followed. Despite a career of chasing trends, his legacy rests firmly on “Susie Q.” This single recording, with its infectious guitar riff, driving rhythm, and youthful energy, continues to captivate listeners and inspire musicians, ensuring that the name “Susie Q” and Dale Hawkins’ contribution to rock and roll will not be forgotten.
