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John Lee Hooker - The Boogie Man Not enough blues input around here imo  , so here's my contribution.
John Lee Hooker (August 22, 1917 – June 21, 2001) was an influential American post-war blues singer, guitarist, and songwriter born in Coahoma County near Clarksdale, Mississippi. In short, my favourate bluesman of them all (and I dig a whole lot them, from Year Zero onwards) - The man Miles Davis once called 'The funkiest man alive'  . I love his stuff with his boogie bands, but just him alone, with his guitar, voice and tapping foot or with a single supporting slide guitar like Roy Rogers or Ry Cooder is the deepest blues I ever heard.
Here's more readings for y'all - From a musical family, he was a cousin of Earl Hooker (an under-rated mutha of a blues guitarist who backed Muddy Waters, among others, as well as John Lee himself on one memorable album 'If You Miss 'Im, I Got 'Im'). John was also influenced by his step-father, Will Moore, a local blues guitarist, who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. John developed a half-spoken style that was his trademark. Though similar to the early Delta blues, his music was rhythmically free. John Lee Hooker could be said to embody his own unique genre of the blues, often incorporating the boogie-woogie piano style and a driving rhythm into his masterful and idiosyncratic blues guitar and singing. His best known songs include "Boogie Chillen" (1948), "Boom Boom" (1962) and "I'm In the Mood". At age 15, John ran away from home, never to see his mother and stepfather again. Throughout the 1930s, Hooker lived in Memphis where he worked on Beale Street and occasionally performed at house parties.[1] He worked in factories in various cities during World War II, drifting until he found himself in Detroit in 1948 working at Ford Motor Company. He felt right at home near the blues venues and saloons on Hastings Street, the heart of black entertainment on Detroit's east side. In a city noted for its piano players, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly, and seeking a louder instrument than his crude acoustic guitar, he bought his first electric guitar. Career Hooker's recording career began in 1948 when his agent placed a demo tape, made by Hooker, with the Bihari brothers, owners of the Modern Records label. The company initially released an up-tempo number, "Boogie Chillen", which became Hooker's first hit single. Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting the occasionally traditional blues lyric (such as "if I was chief of police, I would run her right out of town"), he freely invented many of his songs from scratch. Recording studios in the 1950s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs or variations on his songs for each studio. Due to his recording contract, he would record these songs under obvious pseudonyms such as "John Lee Booker", "Johnny Hooker", or "John Cooker." His early solo songs were recorded under Bernie Besman. John Lee Hooker rarely played on a standard beat, changing tempo to fit the needs of the song. This made it nearly impossible to add backing tracks. As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden palette. He appeared and sang in the 1980 movie The Blues Brothers. Due to Hooker's improvisatory style, his performance was filmed and sound-recorded live at the scene at Chicago's Maxwell Street Market, in contrast to the usual "playback" technique used in most film musicals [8]. Hooker was also a direct influence in the look of John Belushi's character Jake Blues, borrowing his trademark sunglasses and soul patch. In 1989, he joined with a number of musicians, including Keith Richards, Carlos Santana and Bonnie Raitt to record The Healer, for which he and Bonnie Raitt won a Grammy Award. Hooker recorded several songs with Van Morrison, including "Never Get Out of These Blues Alive", "The Healing Game" and "I Cover the Waterfront". He also appeared on stage with Van Morrison several times, some of which was released on the live album A Night in San Francisco. (tho personally, I don't really dig Van's Hooker collaborations - Too much of Van the Man, not enough of the Hook) The same year Hooker appeared as the title character in the album of Pete Townshend's 'The Iron Man: A Musical'. Hooker recorded over 100 albums. He lived the last years of his life in the San Francisco Bay Area, where, in 1997, he opened a nightclub called "John Lee Hooker's Boom Boom Room", after one of his hits. He fell ill just before a tour of Europe in 2001 and died soon afterwards at the age of 83. The last song Hooker recorded before his death, is "Ali D'Oro", a collaboration with the Italian soul singer Zucchero  , in which Hooker sang the chorus "I lay down with an angel". He was survived by eight children, nineteen grandchildren, numerous great-grandchildren and a nephew.
Music Hooker's guitar playing is closely aligned with piano Boogie Woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are "Boogie Chillen", about being 17 and wanting to go out to dance at the Boogie clubs, "Baby Please Don't Go", a blues standard first recorded by Big Joe Williams, and "Tupelo Blues", a stunningly sad song about the flooding of Tupelo, Mississippi in April 1936. He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing. His vocal phrasing was less closely tied to specific bars than most blues singers'. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound. Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or "front porch blues". His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues. Described as the most African of bluesmen, and with good reason - the great Malian guitarist Ali Farka Toure once said, when he first heard John Lee Hooker, he thought he was Malian - his guitar playing sounded Tuareg, ie from the desert nomads of that name who wander Saharan West Africa; John Lee must have been tapping into some heavy ancient voodoo .
In point of fact, as said above, John always said he got his whole unique style (including his trademark 'boogie') from his stepfather Will Moore, who hailed from Shreveport, Louisiana (tragically for posterity, Moore never recorded, though he reportedly knew and played alongside Mississipi blues gods like Charlie Patton, Son House etc), which is nearer the sea than Mississipi... Hooker's songs have been covered by The White Stripes, MC5, The Doors, George Thorogood, Jimi Hendrix, Led Zeppelin, Van Morrison, The Yardbirds, The Animals, R. L. Burnside, the J. Geils Band and The Jon Spencer Blues Explosion. Hooker Quotes - "It don't take me no three days to record no album." (during the recording of the double album Hooker 'N Heat with Canned Heat.) "This here's a long playin' album; if you want a double album, I wants doubles the money ".
"I don't play a lot of fancy guitar. I don't want to play it. The kind of guitar I want to play is mean, mean licks." (when describing his own music in an article from The Daily News, Atlanta, Ga. 1992) "Women are like wet bars of soap. Hold on to em too hard and they pop outta your hands." (as spoken to Randy Wilkinson in New Orleans 1983, friend and road manager). "His [Grateful Dead keyboardist/singer Ron 'Pig Pen' McKernan's] wife can cook but Pig can't cook, I told him 'Man, I can't eat your cookin'." "Elvis Presley--one of the greatest people ever been born." Now, there's heavyweight respect for the King if ever there was.
Who else digs the Hooker? | |
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Miles said: Who else digs the Hooker? Love The Hook. ...Hobo Blues ...Tupelo ...Boom Boom ...One bourbon, one scotch, one beer Ali D'Oro... ...the colab w/Zucchero Boogie Chillun... 
tA  Tribal Disorder
http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said: Miles said: Who else digs the Hooker? Love The Hook. ...Hobo Blues ...Tupelo ...Boom Boom ...One bourbon, one scotch, one beer Ali D'Oro... ...the colab w/Zucchero Boogie Chillun...
tA Tribal Disorder
http://www.soundclick.com...dID=182431 Sho Yo Right! | |
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Miles said: Not enough blues input around here imo
, so here's my contribution.
John Lee Hooker (August 22, 1917 – June 21, 2001) was an influential American post-war blues singer, guitarist, and songwriter born in Coahoma County near Clarksdale, Mississippi. In short, my favourate bluesman of them all (and I dig a whole lot them, from Year Zero onwards) - The man Miles Davis once called 'The funkiest man alive' . I love his stuff with his boogie bands, but just him alone, with his guitar, voice and tapping foot or with a single supporting slide guitar like Roy Rogers or Ry Cooder is the deepest blues I ever heard.
Here's more readings for y'all - From a musical family, he was a cousin of Earl Hooker (an under-rated mutha of a blues guitarist who backed Muddy Waters, among others, as well as John Lee himself on one memorable album 'If You Miss 'Im, I Got 'Im'). John was also influenced by his step-father, Will Moore, a local blues guitarist, who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. John developed a half-spoken style that was his trademark. Though similar to the early Delta blues, his music was rhythmically free. John Lee Hooker could be said to embody his own unique genre of the blues, often incorporating the boogie-woogie piano style and a driving rhythm into his masterful and idiosyncratic blues guitar and singing. His best known songs include "Boogie Chillen" (1948), "Boom Boom" (1962) and "I'm In the Mood". At age 15, John ran away from home, never to see his mother and stepfather again. Throughout the 1930s, Hooker lived in Memphis where he worked on Beale Street and occasionally performed at house parties.[1] He worked in factories in various cities during World War II, drifting until he found himself in Detroit in 1948 working at Ford Motor Company. He felt right at home near the blues venues and saloons on Hastings Street, the heart of black entertainment on Detroit's east side. In a city noted for its piano players, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly, and seeking a louder instrument than his crude acoustic guitar, he bought his first electric guitar. Career Hooker's recording career began in 1948 when his agent placed a demo tape, made by Hooker, with the Bihari brothers, owners of the Modern Records label. The company initially released an up-tempo number, "Boogie Chillen", which became Hooker's first hit single. Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting the occasionally traditional blues lyric (such as "if I was chief of police, I would run her right out of town"), he freely invented many of his songs from scratch. Recording studios in the 1950s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs or variations on his songs for each studio. Due to his recording contract, he would record these songs under obvious pseudonyms such as "John Lee Booker", "Johnny Hooker", or "John Cooker." His early solo songs were recorded under Bernie Besman. John Lee Hooker rarely played on a standard beat, changing tempo to fit the needs of the song. This made it nearly impossible to add backing tracks. As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden palette. He appeared and sang in the 1980 movie The Blues Brothers. Due to Hooker's improvisatory style, his performance was filmed and sound-recorded live at the scene at Chicago's Maxwell Street Market, in contrast to the usual "playback" technique used in most film musicals [8]. Hooker was also a direct influence in the look of John Belushi's character Jake Blues, borrowing his trademark sunglasses and soul patch. In 1989, he joined with a number of musicians, including Keith Richards, Carlos Santana and Bonnie Raitt to record The Healer, for which he and Bonnie Raitt won a Grammy Award. Hooker recorded several songs with Van Morrison, including "Never Get Out of These Blues Alive", "The Healing Game" and "I Cover the Waterfront". He also appeared on stage with Van Morrison several times, some of which was released on the live album A Night in San Francisco. (tho personally, I don't really dig Van's Hooker collaborations - Too much of Van the Man, not enough of the Hook) The same year Hooker appeared as the title character in the album of Pete Townshend's 'The Iron Man: A Musical'. Hooker recorded over 100 albums. He lived the last years of his life in the San Francisco Bay Area, where, in 1997, he opened a nightclub called "John Lee Hooker's Boom Boom Room", after one of his hits. He fell ill just before a tour of Europe in 2001 and died soon afterwards at the age of 83. The last song Hooker recorded before his death, is "Ali D'Oro", a collaboration with the Italian soul singer Zucchero , in which Hooker sang the chorus "I lay down with an angel". He was survived by eight children, nineteen grandchildren, numerous great-grandchildren and a nephew.
Music Hooker's guitar playing is closely aligned with piano Boogie Woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are "Boogie Chillen", about being 17 and wanting to go out to dance at the Boogie clubs, "Baby Please Don't Go", a blues standard first recorded by Big Joe Williams, and "Tupelo Blues", a stunningly sad song about the flooding of Tupelo, Mississippi in April 1936. He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing. His vocal phrasing was less closely tied to specific bars than most blues singers'. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound. Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or "front porch blues". His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues. Described as the most African of bluesmen, and with good reason - the great Malian guitarist Ali Farka Toure once said, when he first heard John Lee Hooker, he thought he was Malian - his guitar playing sounded Tuareg, ie from the desert nomads of that name who wander Saharan West Africa; John Lee must have been tapping into some heavy ancient voodoo .
In point of fact, as said above, John always said he got his whole unique style (including his trademark 'boogie') from his stepfather Will Moore, who hailed from Shreveport, Louisiana (tragically for posterity, Moore never recorded, though he reportedly knew and played alongside Mississipi blues gods like Charlie Patton, Son House etc), which is nearer the sea than Mississipi... Hooker's songs have been covered by The White Stripes, MC5, The Doors, George Thorogood, Jimi Hendrix, Led Zeppelin, Van Morrison, The Yardbirds, The Animals, R. L. Burnside, the J. Geils Band and The Jon Spencer Blues Explosion. Hooker Quotes - "It don't take me no three days to record no album." (during the recording of the double album Hooker 'N Heat with Canned Heat.) "This here's a long playin' album; if you want a double album, I wants doubles the money ".
"I don't play a lot of fancy guitar. I don't want to play it. The kind of guitar I want to play is mean, mean licks." (when describing his own music in an article from The Daily News, Atlanta, Ga. 1992) "Women are like wet bars of soap. Hold on to em too hard and they pop outta your hands." (as spoken to Randy Wilkinson in New Orleans 1983, friend and road manager). "His [Grateful Dead keyboardist/singer Ron 'Pig Pen' McKernan's] wife can cook but Pig can't cook, I told him 'Man, I can't eat your cookin'." "Elvis Presley--one of the greatest people ever been born." Now, there's heavyweight respect for the King if ever there was.
Who else digs the Hooker? I've grown up on the Blues and been longtime fan of John Lee Hooker. My favorite cuts are the ones highlighted in red. | |
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Thanks for the great videos, tA. I'm loving that version of 'Hobo Blues' and 'Tupelo'is always a good one imo. I'm not sure about the Zuchero track - a little too 'the Hooker as sampled by Moby' for this old time blues lover  , but interesting to hear what was apparently his last recording there.
Today, I've been diggin' the excellent Hooker DVD 'Come and See About Me'. It has loads of great videos of live performances down the years, with the Hook in full effect both solo and with a killer boogie band behind him, as well as bits of interview footage of him and some of his 'celebrity sidemen/ women'. He normally stayed sat down for most of his set, but when he 'got up' towards the end, to lead the audience in the finale, you always knew there was some serious boogieing to be had  . Also heartily recommended is the book 'John Lee Hooker- Boogie Man', by the always reliable Charles Shaar Murray - the Bible of Hooker history there, as well as informin' about a lot of other blues history. This week has been Blues Week in the Miles household, with Hooker in the spotlight but many of the artists listed below also getting their time in the spotlight too.
For me, Hooker, more than any other blues artist is my meat and potatoes - my main staple blues diet; with side helpings of Muddy Waters, Howlin' Wolf, Blind Lemon Jefferson, Son House, Blind Willie Johnson (real 'spiritual blues', with a slide style unequalled imo in blues history) Skip James and, for a little more variety, Johnny 'Guitar' Watson in his '70s pimp phase .
Hooker's guitar playing is unique and reaches parts no other guitarist can reach, and that deep, rich, lived-in voice, with its natural authority is almost as good. He can say more in one or two sinister, mean licks than many players do in several finger manglin' solos; one thing he has in common with Miles Davis. And, especially late in life, exuded an effortless cool that was hard earned through years in the business. Unlike Muddy Waters, Howlin Wolf etc, he had no need for long term sidemen, however great those artist's bands undoubtedly were; in the end it was always Hooker alone with a guitar and an amplified tapping foot - self sufficient and funkier imo than most bands in blues history - always at heart most at home with his own unique brand of solo country blues. For me, more than any other blues artist, a personification of the blues. Also honourable mention to other Hooker classics like 'Crawlin' King Snake', 'Burnin' Hell' (especially the awesome version with Canned Heat on the 'Hooker n' Heat'album with the late Alan Wilson - sounds like they're diggin' a hole down to Hell itself there), 'Never Get Out of These Blues Alive' and 'I'm Bad Like Jesse James' (if you've ever heard it, one of the most memorably sinister blues songs ever recorded.
Boogie with the Hooker! | |
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In Detroit on Hastings St. (now the interstate known as I-75) John Lee would play rent parties which is where and how he got his start (just adding to what's been written above).
Why he was so special to me was his voice along with his special brand of "Boogie". So many people lifted from it but he invented it. My fav of the collaboration stuff was with Carlos Santana and Los Lobos, just some pure stuff right there... | |
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Miles, I love Blues. John Lee Hooker is a favorite.  National Funk League✮✮ | |
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Miles said: Thanks for the great videos, tA. I'm loving that version of 'Hobo Blues' and 'Tupelo'is always a good one imo. I'm not sure about the Zuchero track - a little too 'the Hooker as sampled by Moby' for this old time blues lover
, but interesting to hear what was apparently his last recording there.
Today, I've been diggin' the excellent Hooker DVD 'Come and See About Me'. It has loads of great videos of live performances down the years, with the Hook in full effect both solo and with a killer boogie band behind him, as well as bits of interview footage of him and some of his 'celebrity sidemen/ women'. He normally stayed sat down for most of his set, but when he 'got up' towards the end, to lead the audience in the finale, you always knew there was some serious boogieing to be had . Also heartily recommended is the book 'John Lee Hooker- Boogie Man', by the always reliable Charles Shaar Murray - the Bible of Hooker history there, as well as informin' about a lot of other blues history. This week has been Blues Week in the Miles household, with Hooker in the spotlight but many of the artists listed below also getting their time in the spotlight too.
For me, Hooker, more than any other blues artist is my meat and potatoes - my main staple blues diet; with side helpings of Muddy Waters, Howlin' Wolf, Blind Lemon Jefferson, Son House, Blind Willie Johnson (real 'spiritual blues', with a slide style unequalled imo in blues history) Skip James and, for a little more variety, Johnny 'Guitar' Watson in his '70s pimp phase .
Hooker's guitar playing is unique and reaches parts no other guitarist can reach, and that deep, rich, lived-in voice, with its natural authority is almost as good. He can say more in one or two sinister, mean licks than many players do in several finger manglin' solos; one thing he has in common with Miles Davis. And, especially late in life, exuded an effortless cool that was hard earned through years in the business. Unlike Muddy Waters, Howlin Wolf etc, he had no need for long term sidemen, however great those artist's bands undoubtedly were; in the end it was always Hooker alone with a guitar and an amplified tapping foot - self sufficient and funkier imo than most bands in blues history - always at heart most at home with his own unique brand of solo country blues. For me, more than any other blues artist, a personification of the blues. Also honourable mention to other Hooker classics like 'Crawlin' King Snake', 'Burnin' Hell' (especially the awesome version with Canned Heat on the 'Hooker n' Heat'album with the late Alan Wilson - sounds like they're diggin' a hole down to Hell itself there), 'Never Get Out of These Blues Alive' and 'I'm Bad Like Jesse James' (if you've ever heard it, one of the most memorably sinister blues songs ever recorded.
Boogie with the Hooker! Great comparison Of John Lee Hooker and Miles. | |
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Miles said: Thanks for the great videos, tA. I'm loving that version of 'Hobo Blues' and 'Tupelo'is always a good one imo. I'm not sure about the Zuchero track - a little too 'the Hooker as sampled by Moby' for this old time blues lover
, but interesting to hear what was apparently his last recording there.
Today, I've been diggin' the excellent Hooker DVD 'Come and See About Me'. It has loads of great videos of live performances down the years, with the Hook in full effect both solo and with a killer boogie band behind him, as well as bits of interview footage of him and some of his 'celebrity sidemen/ women'. He normally stayed sat down for most of his set, but when he 'got up' towards the end, to lead the audience in the finale, you always knew there was some serious boogieing to be had . Also heartily recommended is the book 'John Lee Hooker- Boogie Man', by the always reliable Charles Shaar Murray - the Bible of Hooker history there, as well as informin' about a lot of other blues history. This week has been Blues Week in the Miles household, with Hooker in the spotlight but many of the artists listed below also getting their time in the spotlight too.
For me, Hooker, more than any other blues artist is my meat and potatoes - my main staple blues diet; with side helpings of Muddy Waters, Howlin' Wolf, Blind Lemon Jefferson, Son House, Blind Willie Johnson (real 'spiritual blues', with a slide style unequalled imo in blues history) Skip James and, for a little more variety, Johnny 'Guitar' Watson in his '70s pimp phase .
Hooker's guitar playing is unique and reaches parts no other guitarist can reach, and that deep, rich, lived-in voice, with its natural authority is almost as good. He can say more in one or two sinister, mean licks than many players do in several finger manglin' solos; one thing he has in common with Miles Davis. And, especially late in life, exuded an effortless cool that was hard earned through years in the business. Unlike Muddy Waters, Howlin Wolf etc, he had no need for long term sidemen, however great those artist's bands undoubtedly were; in the end it was always Hooker alone with a guitar and an amplified tapping foot - self sufficient and funkier imo than most bands in blues history - always at heart most at home with his own unique brand of solo country blues. For me, more than any other blues artist, a personification of the blues. Also honourable mention to other Hooker classics like 'Crawlin' King Snake', 'Burnin' Hell' (especially the awesome version with Canned Heat on the 'Hooker n' Heat'album with the late Alan Wilson - sounds like they're diggin' a hole down to Hell itself there), 'Never Get Out of These Blues Alive' and 'I'm Bad Like Jesse James' (if you've ever heard it, one of the most memorably sinister blues songs ever recorded.
Boogie with the Hooker! I'll have to check those items out. Glad you reminded me of the association with Canned Heat on... 
...Hooker 'n' Heat who pretty much built their sound around his boogie. There's a song on that record that kills me every time I hear it. You Talk Too Much You talk too much, baby You talk too much You talk too much, baby You talk too much You yak, yak, yak You yak too much You talk in the mornin' Talk all night long You talk about people that don't That you don't know You talk too much Baby, you talk too much, baby You talk too much, mama You talk too much, mama Mama, you talk too much Mama, mama, mama You talk too much Mama, mama, mama You talk too much You talk too much, mama You yak, yak, yak Yak, yak All the time You yak your mouth Your big mouth Will ruin you woman Your big mouth Will ruin you woman Yak, yak, yak All the time Talk about people that You just don't know Yak, yak, yak Yak, yak, yak All the time Yak, yak, yak Your big mouth All the time All the time You talk too much woman =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Hooker: "We got about 10 there now. You know like I told you, it don't take me no three days to do no album. Voice in the studio: "We're going for a triple album." Hooker: "Well you go for a triple album you gotta go for triple money." tA Tribal Disorder
http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said: 'll have to check those items out.
Glad you reminded me of the association with Canned Heat on...
...Hooker 'n' Heat who pretty much built their sound around his boogie. There's a song on that record that kills me every time I hear it. You Talk Too Much You talk too much, baby You talk too much You talk too much, baby You talk too much You yak, yak, yak You yak too much You talk in the mornin' Talk all night long You talk about people that don't That you don't know You talk too much Baby, you talk too much, baby You talk too much, mama You talk too much, mama Mama, you talk too much Mama, mama, mama You talk too much Mama, mama, mama You talk too much You talk too much, mama You yak, yak, yak Yak, yak All the time You yak your mouth Your big mouth Will ruin you woman Your big mouth Will ruin you woman Yak, yak, yak All the time Talk about people that You just don't know Yak, yak, yak Yak, yak, yak All the time Yak, yak, yak Your big mouth All the time All the time You talk too much woman =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Hooker: "We got about 10 there now. You know like I told you, it don't take me no three days to do no album. Voice in the studio: "We're going for a triple album." Hooker: "Well you go for a triple album you gotta go for triple money." Oh yeah, that's a favourate of mine from that record, too. And it sounds like it's taken from 'experience' . Canned Heat and Alan Wilson on harp in particular, seemed to 'connect' with Hooker and his music more than most of his collaborators; an excellent album.
Another must-get record with a Miles Davis connection is the soundtrack for the 1990 noir movie, 'The Hot Spot' (1990), starring Don Johnson and directed by Dennis Hopper. That record is great; the personnel is stellar; produced by Jack Nitzsche, one time Phil Spector arranger, it has John Lee on guitar and blues moans, Taj Mahal on guitar/ vocals, Earl Palmer on drums, and awesomely, Miles Davis on (overdubbed) trumpet! . Miles' role is basically that of the blues harmonica player of the band, but the twist being it's Miles on Harmon mute. This music is bangin', with some excellent blues 'atmospheres' that make the film better than it deserves to be. Hearing Miles blow over Hooker boogie grooves and general 'downhome' blues feels makes it one of Miles' most interesting late projects. Great music to drive to or just 'kick back' to. Recommended.
Hooker's album 'Mr Lucky'(1991) is an excellent resume of late Hooker, with some generally well-used 'celebrity sidemen' (who don't get in the way of the Hook) like Carlos Santana, Keith Richards, Johnnie Johnson, Robert Cray and in particular John Hammond Jr on slide guitar in a duo with Hooker on a couple astonishing small band acoustic tracks. According to Charles Shaar Murray's Hooker book, Hooker and Miles were already acquaintances, having crossed paths in various bars in Detroit back in the '50s (which by my calculations, was most likely was when Miles was in that city in his 'down-and-out pimp' phase in early '50s), and were something of a mutual admiration society. The 'Boogie Man' book is excellent. I've just been reading it; the book ranges right through John's life from Mississipi, into Memphis, then Detroit, then Hooker's psychedelic funk early '70s, the 'Healer' 'comeback', to the author hanging out with John at home in 'Frisco in the '90s, as loads of random 'friends' the Hooker recently once met just randomly and amusingly turn up at his home (one of his homes plural, anyway ) and expect his hospitality. Being an 'accesible' blues icon has a downside, after all ...
Interesting fact from the book - in the early '60s Hooker, then based in Detroit, sometimes recorded with moonlighting members of the Motown house band, as well as various local jazz musicians. | |
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Miles said: theAudience said: 'll have to check those items out.
Glad you reminded me of the association with Canned Heat on...
...Hooker 'n' Heat who pretty much built their sound around his boogie. There's a song on that record that kills me every time I hear it. You Talk Too Much You talk too much, baby You talk too much You talk too much, baby You talk too much You yak, yak, yak You yak too much You talk in the mornin' Talk all night long You talk about people that don't That you don't know You talk too much Baby, you talk too much, baby You talk too much, mama You talk too much, mama Mama, you talk too much Mama, mama, mama You talk too much Mama, mama, mama You talk too much You talk too much, mama You yak, yak, yak Yak, yak All the time You yak your mouth Your big mouth Will ruin you woman Your big mouth Will ruin you woman Yak, yak, yak All the time Talk about people that You just don't know Yak, yak, yak Yak, yak, yak All the time Yak, yak, yak Your big mouth All the time All the time You talk too much woman =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Hooker: "We got about 10 there now. You know like I told you, it don't take me no three days to do no album. Voice in the studio: "We're going for a triple album." Hooker: "Well you go for a triple album you gotta go for triple money." Oh yeah, that's a favourate of mine from that record, too. And it sounds like it's taken from 'experience' . Canned Heat and Alan Wilson on harp in particular, seemed to 'connect' with Hooker and his music more than most of his collaborators; an excellent album.
Another must-get record with a Miles Davis connection is the soundtrack for the 1990 noir movie, 'The Hot Spot' (1990), starring Don Johnson and directed by Dennis Hopper. That record is great; the personnel is stellar; produced by Jack Nitzsche, one time Phil Spector arranger, it has John Lee on guitar and blues moans, Taj Mahal on guitar/ vocals, Earl Palmer on drums, and awesomely, Miles Davis on (overdubbed) trumpet! . Miles' role is basically that of the blues harmonica player of the band, but the twist being it's Miles on Harmon mute. This music is bangin', with some excellent blues 'atmospheres' that make the film better than it deserves to be. Hearing Miles blow over Hooker boogie grooves and general 'downhome' blues feels makes it one of Miles' most interesting late projects. Great music to drive to or just 'kick back' to. Recommended.
Hooker's album 'Mr Lucky'(1991) is an excellent resume of late Hooker, with some generally well-used 'celebrity sidemen' (who don't get in the way of the Hook) like Carlos Santana, Keith Richards, Johnnie Johnson, Robert Cray and in particular John Hammond Jr on slide guitar in a duo with Hooker on a couple astonishing small band acoustic tracks. According to Charles Shaar Murray's Hooker book, Hooker and Miles were already acquaintances, having crossed paths in various bars in Detroit back in the '50s (which by my calculations, was most likely was when Miles was in that city in his 'down-and-out pimp' phase in early '50s), and were something of a mutual admiration society. The 'Boogie Man' book is excellent. I've just been reading it; the book ranges right through John's life from Mississipi, into Memphis, then Detroit, then Hooker's psychedelic funk early '70s, the 'Healer' 'comeback', to the author hanging out with John at home in 'Frisco in the '90s, as loads of random 'friends' the Hooker recently once met just randomly and amusingly turn up at his home (one of his homes plural, anyway ) and expect his hospitality. Being an 'accesible' blues icon has a downside, after all ...
Interesting fact from the book - in the early '60s Hooker, then based in Detroit, sometimes recorded with moonlighting members of the Motown house band, as well as various local jazz musicians.  No doubt. | |
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Miles said: Another must-get record with a Miles Davis connection is the soundtrack for the 1990 noir movie, 'The Hot Spot' (1990), starring Don Johnson and directed by Dennis Hopper. That record is great; the personnel is stellar; produced by Jack Nitzsche, one time Phil Spector arranger, it has John Lee on guitar and blues moans, Taj Mahal on guitar/ vocals, Earl Palmer on drums, and awesomely, Miles Davis on (overdubbed) trumpet!
. Miles' role is basically that of the blues harmonica player of the band, but the twist being it's Miles on Harmon mute. This music is bangin', with some excellent blues 'atmospheres' that make the film better than it deserves to be. Hearing Miles blow over Hooker boogie grooves and general 'downhome' blues feels makes it one of Miles' most interesting late projects. Great music to drive to or just 'kick back' to. Recommended.My brother is a big "old school" film noir fan. I'll have to ask him if he's seen this. tA Tribal Disorder
http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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