Mannish Boy

Muddy Waters · 1955

On the original 1955 Chess single the main figure is a two-guitar stop-time riff in A, with Muddy on his 1952 Les Paul Goldtop and Jimmy Rogers doubling him, cut live in the room with Junior Wells on harp. Nobody documented the amps that day, so aim for a small tube combo pushed just into breakup with the treble backed off and no effects at all. Get the neck P-90 fat and grab the strings with your thumb — the sound is attack and space, not gain.

Where these numbers come from: worked out from the documented rig and the sound of the record

Tuning

Standard tuning, no capo

Standard tuning, riff in A around the 5th and 7th frets; on the 1955 Chess side two guitars (Muddy and Jimmy Rogers) shadow the same stop-time figure, and Muddy played fingers/thumbpick with heavy .012–.056 strings.

Part: Riff

Guitar

  • Gibson Les Paul (1952 Goldtop) · P-90 · neck pickup

Amp

Low-wattage tweed-era tube combo

GAIN
7.0
BASS
6.0
MID
7.0
TREBLE
5.0

No source documents the amp at the May 24, 1955 Chess date; Gibson's own Muddy feature points to a small single-12 combo of the era (GA-5/GA-40 class) and tweed Fenders were around the studio, so set volume high enough for gentle breakup on the attack and roll the tone back — if your amp has one tone knob instead of three, put it near 5.

Amp

Fender Super Reverb

GAIN
9.0
BASS
9.0
MID
9.0
TREBLE
9.0
REVERB
0.0

Muddy's own documented amp preference from the 1960s on — knobs near 9 with no reverb or tremolo; this is his later live/session rig, not the 1955 amp, but it is the setting he himself described and it gets the same thick, mid-forward stab.

Tone character

woolly P-90 mids · light tube breakup · thumb-picked snap · dark rolled-off treble · dry, no reverb · tight palm-muted stops

easy

Three easy fretted shapes with one hammer-on, but the stop-time silence has to be dead clean — the challenge is muting the strings hard and coming back in exactly on the beat.

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Sources