John Lee Hooker Boom Boom (CD)
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John Lee Hooker: Boom Boom (CD)
The single reached number 1 in the rhythm & blues hit parade and sold a million copies. Two years later, he landed the next million-seller with “I'm In The Mood”. With his mixture of vocals and language and the infectious beats, he struck a chord with African-American record buyers. Added to this was his electrically amplified guitar, with which he created a new and trend-setting sound. Hooker mostly played solo during this time.
From time to time he was accompanied by musicians such as Eddie Burns, Boogie Woogie Red and Eddie Kirkland. In the years that followed, his popularity grew through numerous recordings and tours. But not in a linear fashion. After a career slump in the early 1950s, Hooker and the original country blues came to the attention of young white students and intellectuals at the end of the decade. At the beginning of the 1960s, Hooker also gained increasing attention in the pop world. In the course of the rhythm & blues boom in England, he even made it into the pop charts. In 1980 he was inducted into the Blues Hall of Fame, and in 2009 his hit “Boom Boom” also received this honor.
After his comeback with “The Healer” (1989), John Lee Hooker went to Russian Hill Recording in San Francisco and The Record Plant in Sausalito to reinterpret some of his best-known songs, including “Boom Boom”, which gives this album its title. A star-studded cast of contemporary blues greats took part in the sessions, including Charlie Musselwhite, Jimmie Vaughan, Robert Cray and Albert Collins.
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Article properties:John Lee Hooker: Boom Boom (CD)
Interpret: John Lee Hooker
Album titlle: Boom Boom (CD)
Genre Blues
Artikelart CD
Label BMG RIGHTS
EAN: 4099964168662
- weight in Kg 0.07
| Hooker, John Lee - Boom Boom (CD) CD 1 | ||||
|---|---|---|---|---|
| 01 | Boom Boom | Feat Jimmie Vaughan | ||
| 02 | I'm Bad Like Jesse James | John Lee Hooker | ||
| 03 | Same Old Blues Again | Feat Robert Cray | ||
| 04 | Sugar Mama | John Lee Hooker | ||
| 05 | Trick Bag (Shoppin' For My Tombstone) | John Lee Hooker | ||
| 06 | Boogie At Russian Hill | Feat Albert Collins) | ||
| 07 | Hittin' The Bottle Again | John Lee Hooker | ||
| 08 | Bottle Up And Go | John Lee Hooker | ||
| 09 | Thought I Heard | Feat Charlie Musselwhite | ||
| 10 | I Ain't Gonna Suffer No More | John Lee Hooker | ||
| 11 | Dimples | John Lee Hooker | ||
| 12 | Ain’t No Love In This House (Bonus Track) | John Lee Hooker | ||
John Lee Hooker
After nomadically label-hopping for the first seven years of his astonishingly prolific recording career, Mississippi Delta émigré John Lee Hooker settled into a relatively exclusive relationship with Chicago’s Vee-Jay Records in 1955. Things had changed dramatically on the R&B front since 1949; no longer would a haunting solo blues piece like the Hook’s Boogie Chillen (it’s on BCD 16921, Disc One) find its way to the top of the charts now that rock 'n' roll had captured the teenage demographic.
Still, there remained a solid southern market for blues, and John Lee was happy to help fill it on Vee-Jay through 1964 (granted, there were dalliances with a number of other labels during that span). His first Vee-Jay date, conducted in Chicago in October of ’55, found him in the company of labelmate Jimmy Reed, guitarist Eddie Taylor (a steadying presence for both Reed and Hooker whenever they entered the studio), bassist George Washington, and drummer Tom Whitehead, who had been playing sessions with the Boogie Man since 1953 and clearly knew the territory.
Reed was absent for Hooker’s Vee-Jay encore session, held March 27, 1956, but the rhythm section remained constant. Among the enduring gems laid down that day was the rollicking Dimples, a standard in John Lee’s repertoire from then on. He’s listed as writing it with Jimmy Bracken, the co-owner of Vee-Jay. Hooker was fretting an electric guitar instead of the acoustic he used on his first Detroit sessions (ironically, he’d have to retrieve it when the folk-blues trend hit).
Hooker’s Vee-Jay stint produced some of the most polished recordings he ever made, thanks to stellar musicianship by Taylor and his comrades, who seemed to cope with Hooker’s erratic timing better than just about anyone else he’d recorded with. At the end of 1958, John Lee would find his way back onto the R&B charts for the first time in more than seven years with I Love You Honey. He scored nationally again in 1960 with No Shoes. But as it turned out, the John Lee Hooker story was just getting underway.
Bill Dahl
Chicago, Illinois
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