John Lee Hooker Burnin' (CD)
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- catalog number:CD424593
- weight in Kg 0.11
John Lee Hooker: Burnin' (CD)
Recorded in a single session with drums, bass, second guitar, piano, tenor sax and baritone sax, 1962's Burnin' represents a departure from earlier Hooker albums, on which he often played with just a guitar and a piece of plywood on which he stamped his foot.
His backing band for this Vee-Jay release consists of members of the Funk Brothers, best known as the house band for Motown Records. They do an admirable job of following Hooker, one of the industry's most idiosyncratic musicians, wherever he leads. The album opens with the single "Boom Boom," which has become a blues standard over the years. Music critic Charles Shaar Murray called it "the greatest pop song [Hooker] ever wrote." The verses of the song, which has just about the tightest musical structure of any Hooker composition, stick scrupulously to the twelve-bar format on which he usually tends to dabble. And the quality doesn't let up after the strong opener. Instead, the album offers a cohesive and engaging listening experience that keeps you captivated from start to finish. Pure, 100 percent electro blues.
Article properties:John Lee Hooker: Burnin' (CD)
Interpret: John Lee Hooker
Album titlle: Burnin' (CD)
Genre Blues
Artikelart CD
Label Craft Recordings
EAN: 0888072424593
- weight in Kg 0.11
| Hooker, John Lee - Burnin' (CD) CD 1 | ||||
|---|---|---|---|---|
| 01 | Boom Boom (Stereo) | John Lee Hooker | ||
| 02 | Process (Stereo) | John Lee Hooker | ||
| 03 | Lost A Good Girl (Stereo) | John Lee Hooker | ||
| 04 | A New Leaf (Stereo) | John Lee Hooker | ||
| 05 | Blues Before Sunrise (Stereo) | John Lee Hooker | ||
| 06 | Let's Make It (Stereo) | John Lee Hooker | ||
| 07 | I Got A Letter (Stereo) | John Lee Hooker | ||
| 08 | Thelma (Stereo) | John Lee Hooker | ||
| 09 | Drug Store Woman (Stereo) | John Lee Hooker | ||
| 10 | Keep Your Hands To Yourself (Stereo) | John Lee Hooker | ||
| 11 | What Do You Say (Stereo) | John Lee Hooker | ||
| 12 | Thelma (Alternate Take) | John Lee Hooker | ||
| 13 | Boom Boom (Mono) | John Lee Hooker | ||
| 14 | Process (Mono) | John Lee Hooker | ||
| 15 | Lost A Good Girl (Mono) | John Lee Hooker | ||
| 16 | A New Leaf (Mono) | John Lee Hooker | ||
| 17 | Blues Before Sunrise (Mono) | John Lee Hooker | ||
| 18 | Let's Make It (Mono) | John Lee Hooker | ||
| 19 | I Got A Letter (Mono) | John Lee Hooker | ||
| 20 | Thelma (Mono) | John Lee Hooker | ||
| 21 | Drug Store Woman (Mono) | John Lee Hooker | ||
| 22 | Keep Your Hands To Yourself (Mono) | John Lee Hooker | ||
| 23 | What Do You Say (Mono) | 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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