John Lee Hooker
by Pete Clemons
He passed away a generation ago but the music of John Lee Hooker still lives on through commercials, TV shows and dozens of films.
It is said that John Lee Hooker was born in 1917 although this ranges from 1912 to 1923. The truth is that 1917 was only an estimation. No one actually knew. But regardless of that, he had a hard and difficult upbringing.
During that time John Lee developed a guitar style, influenced by the playing of his step father, of playing a series of notes around one chord.
On the face of it, it sounds easy enough. But after speaking with several guitar players, I soon learned that not to be the case. John Lee Hooker made what is a very difficult and intricate skill look simple. And that style became known as 'boogie'.
John Lee had written countless tunes but his powerful, exciting and relentless style took until 1948 to be recorded. And that recording was a tune called 'Boogie Chillin'. It sold a million but sadly earned him nothing of note. And a year later he became a full time musician.
The lesson learned from 'Boogie Chillin' was that, from then on, John Lee only recorded for cash up front. And this included the recording of another hit during 1956, 'Dimples'.
Towards the end of the 1950s, and in order to reach wider audiences, John Lee Hooker began to play the new and up and coming folk festivals. These were springing up across America and proved to be a great success as he now found a public who were willing to listen and appreciate.
As the 1960s broke John Lee's popularity grew as his records became more accessible. And those records began to make their way to the UK by way of shipping. A new generation of musicians were now being inspired by his foot tapping rhythms.
The early 1960s also saw two of John Lee's most influential songs, 'Baby Please Don't Go' and 'Boom Boom' recorded. And these were soon being discovered and reworked by British artists Van Morrison and Eric Burdon respectively.
That growing interest saw John Lee Hooker visit the UK for the first time during 1962. He was touring Europe and played one gig in Manchester as part as that tour.
He returned to the UK in 1964, famously backed by The Groundhogs, and again in 1966. John Lee Hooker loved the UK for respecting his music as well as respecting him as a person. Similar to the later Stax tour of 1967.
In fact during the 1966 UK tour, John Lee Hooker played the Nuneaton Co-op Hall as part of a short visit that also included the famous Marquee Club in London.
What is termed as the British Invasion of the US was effectively UK bands taking the blues and boogie music, such as that created by John Lee Hooker, back to the US and giving it far greater exposure.
A consequence was that an even wider American audience now sat up and took notice of their export via bands such as The Rolling Stones, The Animals, The Yardbirds and Them. America was given a whole new perspective of their music and sat up and took notice of it.
Now enter American boogie band Canned Heat famed for songs like 'On the Road Again', 'Lets Work Together' and 'Going up Country'. By their own admission Canned Heat songs were embellished with rehashed John Lee Hooker chords.
Canned Heat respected John Lee to the max. They had already termed their music 'Boogie Music' and collaborated on an album by way of the 1971 release 'Hooker n Heat'. The album was created with no overdubs - John Lee hated doing those - and no second takes.
Canned Heat even created a wooden platform in the studio for John Lee to stamp his foot during the sessions. John Lee's foot was effectively his rhythm section. The album was created over two nights and included a glorious version of 'Boogie Chillin'. And became the first John Lee Hooker album to chart in the US top 100.
John Lee's next major album began during 1988 when, after constantly working in lots of small clubs, was paid a visit at one of his gigs by Carlos Santana. Carlos immediately had the idea of album with John Lee and guests and called up producer Mike Kappus and Roy Rogers.
It was not an easy project. The album took a couple of years to produce and was rejected by several major labels. But eventually it was released and did see light of day it albeit on a small label, Chameleon. Titled 'The Healer' it was a sensational album. It received major airplay and sold incredibly well.
Throughout his lifetime John Lee Hooker never compromised, staying true to his unique boogie style throughout his career until that life extinguished during June 2001.
During that time John Lee developed a guitar style, influenced by the playing of his step father, of playing a series of notes around one chord.
On the face of it, it sounds easy enough. But after speaking with several guitar players, I soon learned that not to be the case. John Lee Hooker made what is a very difficult and intricate skill look simple. And that style became known as 'boogie'.
John Lee had written countless tunes but his powerful, exciting and relentless style took until 1948 to be recorded. And that recording was a tune called 'Boogie Chillin'. It sold a million but sadly earned him nothing of note. And a year later he became a full time musician.
The lesson learned from 'Boogie Chillin' was that, from then on, John Lee only recorded for cash up front. And this included the recording of another hit during 1956, 'Dimples'.
Towards the end of the 1950s, and in order to reach wider audiences, John Lee Hooker began to play the new and up and coming folk festivals. These were springing up across America and proved to be a great success as he now found a public who were willing to listen and appreciate.
As the 1960s broke John Lee's popularity grew as his records became more accessible. And those records began to make their way to the UK by way of shipping. A new generation of musicians were now being inspired by his foot tapping rhythms.
The early 1960s also saw two of John Lee's most influential songs, 'Baby Please Don't Go' and 'Boom Boom' recorded. And these were soon being discovered and reworked by British artists Van Morrison and Eric Burdon respectively.
That growing interest saw John Lee Hooker visit the UK for the first time during 1962. He was touring Europe and played one gig in Manchester as part as that tour.
He returned to the UK in 1964, famously backed by The Groundhogs, and again in 1966. John Lee Hooker loved the UK for respecting his music as well as respecting him as a person. Similar to the later Stax tour of 1967.
In fact during the 1966 UK tour, John Lee Hooker played the Nuneaton Co-op Hall as part of a short visit that also included the famous Marquee Club in London.
What is termed as the British Invasion of the US was effectively UK bands taking the blues and boogie music, such as that created by John Lee Hooker, back to the US and giving it far greater exposure.
A consequence was that an even wider American audience now sat up and took notice of their export via bands such as The Rolling Stones, The Animals, The Yardbirds and Them. America was given a whole new perspective of their music and sat up and took notice of it.
Now enter American boogie band Canned Heat famed for songs like 'On the Road Again', 'Lets Work Together' and 'Going up Country'. By their own admission Canned Heat songs were embellished with rehashed John Lee Hooker chords.
Canned Heat respected John Lee to the max. They had already termed their music 'Boogie Music' and collaborated on an album by way of the 1971 release 'Hooker n Heat'. The album was created with no overdubs - John Lee hated doing those - and no second takes.
Canned Heat even created a wooden platform in the studio for John Lee to stamp his foot during the sessions. John Lee's foot was effectively his rhythm section. The album was created over two nights and included a glorious version of 'Boogie Chillin'. And became the first John Lee Hooker album to chart in the US top 100.
John Lee's next major album began during 1988 when, after constantly working in lots of small clubs, was paid a visit at one of his gigs by Carlos Santana. Carlos immediately had the idea of album with John Lee and guests and called up producer Mike Kappus and Roy Rogers.
It was not an easy project. The album took a couple of years to produce and was rejected by several major labels. But eventually it was released and did see light of day it albeit on a small label, Chameleon. Titled 'The Healer' it was a sensational album. It received major airplay and sold incredibly well.
Throughout his lifetime John Lee Hooker never compromised, staying true to his unique boogie style throughout his career until that life extinguished during June 2001.
No comments:
Post a Comment