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Shake It Like a Hooker Baby I Don't Care

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Single by John Lee Hooker

1948 single by John Lee Hooker

"Boogie Chillen'"
Boogie Chillen' single cover.jpg
Single past John Lee Hooker
B-side "Sally May"
Released November 1948 (1948-xi) [one]
Recorded September 1948[one] [a]
Studio United Sound Systems, Detroit, Michigan
Genre Dejection
Length 3:11
Label Mod
Songwriter(s) John Lee Hooker[b]
Producer(s) Bernard Besman

"Boogie Chillen'" or "Boogie Chillun"[c] is a blues song first recorded past John Lee Hooker in 1948. It is a solo performance featuring Hooker's vocal, electric guitar, and rhythmic foot stomps. The lyrics are partly autobiographical and alternate between spoken and sung verses. The song was his debut tape release and in 1949, it became the first "down-domicile" electric dejection vocal to reach number one in the R&B records chart.

Hooker's vocal was part of a trend in the late 1940s to a new manner of urban electric blues based on earlier Delta blues idioms. Although it is called a boogie, information technology resembles early Due north Mississippi Hill country blues rather than the boogie-woogie piano-derived style of the 1930s and 1940s. Hooker gave credit to his stepfather, Volition Moore, who taught him the rhythm of "Boogie Chillen'" ("chillen'" is a phonetic approximation of Hooker's pronunciation of "children") when he was a teenager. Some of the song'due south lyrics are derived from earlier blues songs.

Hooker'due south guitar piece of work on the song inspired several well-known guitarists to have up the instrument. With its driving style and focus on rhythm, it is likewise considered a forerunner of rock and roll. Music critic Cub Koda calls the guitar effigy from "Boogie Chillen'" "the riff that launched a one thousand thousand songs".[iv] Several rock musicians have patterned successful songs either directly or indirectly on Hooker'due south many versions of "Boogie Chillen'". These include songs by boogie stone band Canned Rut, who also recorded a well-received version with Hooker. I of ZZ Top's best-known hits, "La Grange", allegedly uses elements of the vocal, which led to legal action by the song's publisher and resulted in changes to American copyright constabulary.

Groundwork [edit]

In 1943, Hooker moved to Detroit, Michigan, for employment opportunities in the city'south wartime vehicle manufacturing factories.[5] There he was attracted to the music clubs along Hastings Street in Black Bottom/Paradise Valley, the cultural centre of the city's blackness community.[vi] He recounts his experience in the narrative to "Boogie Chillen'":[vii]

When I get-go come to town people, I was walkin' downwardly Hastings Street
I heard everybody talkin' nearly, Henry's Swing Club
I decided I'd drop in in that location that night, and when I got there
I say "Yes, people!", yes they was really havin' a ball!
Yeah, I know
Boogie chillen'!

By 1948, Hooker came to the attending of Elmer Barbee, a local record store possessor.[8] Barbee arranged to have several demos recorded.[viii] He or Hooker subsequently presented them to Bernard Besman, who ran the Detroit surface area's just professional tape company.[3] Although Hooker had played mostly with an ensemble at that time, Besman decided to record him solo.[ix] This put the attention solely on the vocaliser/guitarist,[ane] in contrast to the prevailing jump dejection style, which emphasized ensemble instrumentation. Recent striking singles by Muddied Waters and Lightnin' Hopkins had besides used this stripped-down, electrified Delta blues-inspired approach.[10]

Composition and lyrics [edit]

"Boogie Chillen'" is described by music critic Pecker Dahl every bit "dejection equally archaic as anything then on the market; Hooker'due south night, ruminative vocals were backed simply by his ain ringing, heavily amplified guitar and insistently pounding foot".[6] In an interview, Hooker shared how he came up with "Boogie Chillen'":

I wrote that vocal in Detroit when I was sittin' around strummin' my guitar. The matter come into me, you know? I heard [my stepfather] Will Moore washed [sic] it years and years before. I was a little child from downwardly South, and I heard him do a vocal like that, just he didn't call information technology "Boogie Chillen". But it had that beat, and I just kept that beat upwardly and I chosen it "Boogie Chillen".[11]

He performed the song in clubs before recording information technology and chosen it "Boogie Woogie" before settling on "Boogie Chillen'".[12] According to musicologist Robert Palmer, "The closest affair to it on records is 'Cottonfield Blues', recorded by Garfield Akers and Joe Callicott, two guitarists from the hill state of northern Mississippi, in 1929. Essentially, information technology was a backcountry, pre-blues sort of music—a droning, open-concluded stomp without a fixed poesy course that lent itself to building up to a cumulative, trancelike effect".[13]

Hooker performing in 1972

Hooker's vocal alternates between sung and spoken sections.[fourteen] Commenting on Hooker's vocal sections, music historian Ted Gioia notes, "The vocal has nigh no melody. Even less harmony. In fact, it is hard to telephone call it a song. Information technology'south more similar a bit of jive stream of consciousness in 4/4 time."[15] Some of the lyrics are borrowed from before songs that date dorsum to the beginning of the blues.[16] The opening line "My mama she didn't allow me to stay out all night long" has origins in "Mama Don't Let", an old dance song.[16] Several songs were recorded in the 1920s with like titles.[17] "Boogie No. three" past boogie-woogie pianist Cow Cow Davenport has sung and spoken sections and includes the lines, "I don't intendance what Grandma don't permit, play my music anyway, Grandma's don't 'llow no music playin' in here".[xviii] Hooker'south outset and 2nd takes of the song include similar verses and the narrative about Henry's Swing Club, but do non include the crucial mid-song hook "Boogie, chillen'!" before the guitar break, which gives the song its lyrical identity.[nineteen]

A key feature of the vocal is the driving guitar rhythmic effigy centered on one chord, with "accents that fell fractionally ahead of the trounce".[v] Music journalist Charles Shaar Murray describes information technology every bit a "rocking dance piece ... its structure is utterly free-grade, its basic crush is the jumping, polyrhythmic groove which he [Hooker] learned in the Delta".[20] In an interview with B.B. Male monarch, Hooker confirmed that he used an open Yard guitar tuning technique for his guitar,[21] although he usually used a capo, raising the pitch to B (1948), A ♭ (1959), or A (1970).[22] He also employed hammer-on and pull-off techniques, which are described every bit "a slurred ascending bass line played on the fifth string [tonic]" past music writer Lenny Carlson.[22] Although it is titled a "boogie", it does not resemble the earlier boogie-woogie style.[5] Boogie-woogie is based on a left-hand pianoforte ostinato or walking-bass line and, equally performed on guitar, forms the pop 1940s instrumental "Guitar Boogie".[5] [d] Rather than beingness derivative, Hooker'south boogie becomes "equally overwhelmingly personal a piece as anything ever done in the dejection".[23]

Recording and release [edit]

In September 1948, Besman arranged recording sessions for Hooker at United Sound studios in Detroit.[1] Several songs were recorded with Hooker's vocals and amplified guitar.[3] To make the sound fuller, a microphone was gear up in a pallet that was placed nether Hooker'southward foot.[24] According to Besman's account, a primitive echo-chamber effect was created past feeding Hooker's pes-stomp rhythm into a speaker in a toilet bowl, which in turn was miked and returned to a speaker in the studio in front of Hooker's guitar, thus giving it a "big" or more ambience sound.[24] Iii takes of Hooker's performance were recorded, the last providing the master for "Boogie Chillen'".[25]

Even though Besman had his own record label, Awareness Records, he licensed "Boogie Chillen'" to Los Angeles-based Modernistic Records.[three] On November 3, 1948, it was released nationally and Hooker commented on its immediate entreatment: "The thing caught afire. Information technology was ringin' all around the land. When it come out, every juke box you lot went to, every place y'all went to ... they were playing information technology in that location".[five] Considering of the response, Nashville, Tennessee, radio station WLAC, a 50,000 watt clear-channel station that reached 15 states and Canada, played the song 10 times in a row during one broadcast dark.[26] "Boogie Chillen'" entered the Billboard Race Records chart on Jan 8, 1949, where it remained for eighteen weeks, and reached number one on February 19, 1949.[27]

The Detroit Gratuitous Press, Hooker's hometown paper, published a favorable review on January 22, 1949:

An unusual blues item is "Boogie Chillen'" by John Lee Hooker on Modern xx-627. Hooker's singing is remarkable for vocal coloring and phrasing; his improvised lyrics aren't much—even if he does toss in a couple references to Detroit. The guitar accompaniment which Hooker plays is fifty-fifty more than intriguing than his vocalizing. His dynamic rhythms and subtle nuances on the guitar and his startling disregard for familiar calibration and harmony patterns bear witness similiary to the work of Robert Johnson, who made many fine records in this vein.[28]

"Boogie Chillen'" became the about popular race tape of 1949[29] and reportedly sold "several hundred thousand"[30] to i million[31] copies.[due east] In an experience like to Muddy Waters' 1950 hit "Rollin' Stone",[33] the vocal's popularity allowed Hooker to give up his factory job and concentrate on music.[5]

Early influence [edit]

Besides its commercial success, "Boogie Chillen'" had a large bear on on blues and R&B musicians. B.B. Male monarch, who was a disc jockey at Memphis, Tennessee, radio station WDIA at the fourth dimension, regularly featured Hooker's song.[34] He recalled:

[There was] inappreciably anybody around who was playing at that fourth dimension didn't play "Boogie Chillen". That's merely how heavy it was ... I, for 1, and many others [musicians] who would get out and play—if yous didn't play "Boogie Chillen'" at that fourth dimension, people probably await at you and wonder what was wrong with you lot. It was such a large tape.[35]

Murray likens the song to "the R&B equivalent of punk stone" or superficially simple enough not to intimidate beginners.[36] It interested the immature Bo Diddley: "I remember the first record I paid attention to was John Lee Hooker'southward 'Boogie Chillen,' ... When I institute John Lee Hooker on the radio, I said, 'If that guy can play, I know I can.' I mean John Lee's got a hell of a fashion".[35] In an interview, Buddy Guy described learning to play "Boogie Chillen'" at age thirteen: "that was the offset matter I thought I learned how to play that I knew sounded right when someone would heed."[35] Guy subsequently recorded a version with Junior Wells for their 1981 album Solitary & Acoustic. Albert Collins also recalled that it was the first song he learned to play.[35]

The success of "Boogie Chillen'" brought numerous offers for John Lee Hooker to record for other record companies. Because he received little remuneration from the sales of his tape, Hooker readily accepted the opportunities to generate income.[37] This led to his recording using a variety of pseudonyms, including Texas Slim, Little Pork Chops, Delta John, Birmingham Sam, the Boogie Man, Johnny Williams, John Lee Booker, John Lee Cooker, and others for such labels equally King, Danceland, Regent, Savoy, Acorn, Prize, Staff, Gotham, Gone, Chess, and Swing Time.[half dozen]

Later Hooker versions [edit]

The need for "Boogie Chillen'" remained high enough for Hooker to re-record the song several times.[16] In 1950, he recorded a faster version with unlike lyrics as "Boogie Chillen' #2" for Bernie Besman'south Awareness label (besides issued past Regal).[38] Modern Records released an edited version in 1952 titled "New Boogie Chillun". Subsequently Hooker began his association with Vee-Jay Records, he recorded "Boogie Chillun" in 1959, which closely follows the original unmarried.[39] Because of the similarity, the 1959 version is sometimes misidentified as the 1948 version and vice versa (at 2:36, the Vee-Jay version is well-nigh a one-half a minute shorter than the original).[forty]

Hooker 'n Heat album cover (front)[f]

The first 2 takes from the September 1948 Detroit recording session began appearing on diverse compilation albums in the 1970s, sometimes with the titles "John Lee's Original Boogie" and "Henry's Swing Order".[three] Meanwhile, Modern and its associated labels including Kent and Crown reissued the song several times.

From the 1960s onwards, Hooker recorded several studio and live renditions of "Boogie Chillen'",[41] with guest musicians such as Eric Clapton and the Rolling Stones. In 1970, he recorded an updated version of the song, titled "Boogie Chillen' No. ii", with the blues rock group Canned Heat for their joint album, Hooker 'n Oestrus.[42] Blues historian Gerard Herzhaft describes the functioning as a "memorable i".[sixteen] It combines Hooker's vocal and Canned Oestrus'due south signature boogie stone bankroll, equally heard in the group'south jam song "Fried Hockey Boogie" (itself an accommodation of "Boogie Chillen'").[iv] Despite existence over eleven minutes long with extended guitar and harmonica solos, it remains as "full of the same swagger as the original".[42]

Recognition and legacy [edit]

In 1985, Hooker's 1948 recording of "Boogie Chillen'" was inducted into the Blues Foundation Hall of Fame. Writing for the Foundation, dejection historian Jim O'Neal noted it was "the commencement down-home electric dejection record to achieve No. 1 chart condition and its success, together with that of the Hooker hits that followed, inspired tape companies to search out the new electrical generation of country bluesmen".[43] In 1999, information technology received a Grammy Hall of Fame Award[44] and is included in the Rock and Roll Hall of Fame list of the "500 Songs That Shaped Rock and Roll".[45] "Boogie Chillen'" was added to the U.Southward. National Recording Registry in 2008, which noted that "the driving rhythm and confessional lyrics have guaranteed its identify equally an influential and indelible blues classic".[46] Authors Jim Dawson and Steve Propes included it in their 1992 book What Was the First Rock 'n' Scroll Record?, identifying it among the precursors of rock and scroll.[47]

"Boogie Chillen'" has inspired several songs, beginning in 1953, when Inferior Parker recorded his interpretation titled "Feelin' Proficient".[48] It became Parker's commencement hit for Lord's day Records and was subsequently recorded by James Cotton in 1967 and past Magic Sam as "I Feel And so Good (I Wanna Boogie)" for his influential 1967 album West Side Soul.[4] A version by Slim Harpo, titled "Boogie Chillun", appeared on his 1970 album Slim Harpo Knew the Dejection using a similar system to his 1966 hit "Shake Your Hips".[49]

Other songs that borrow from "Boogie Chillen'" or "Boogie Chillen' No. ii", either directly or indirectly, include the radio hits "On the Route Again" by Canned Rut in 1968, "Spirit in the Sky" by Norman Greenbaum in 1970, and "La Grange" by ZZ Meridian in 1973.[four] [50]

Copyright issues [edit]

In 1991, Bernie Besman, as the song's publisher, La Cienega Music, brought legal action against ZZ Elevation for copyright infringement for their song "La Grange".[37] Author Timothy English notes that of the various Hooker recordings of "Boogie Chillen'", the i released in 1971 with Canned Oestrus "has the nearly elements in common with 'La Grange', including the guitar pattern and the 'howl, howl, howl' song line".[51] The instance wound its mode through the American legal organization (including an appeal to the U.S. Supreme Court).[52] When the ruling did not favor the publisher, the U.Southward. Congress was persuaded to amend the Copyright Deed in 1998 to protect many songs recorded before 1978 from entering the public domain.[53] ZZ Top settled out of courtroom in 1997,[53] but Hooker again gained no financial reward from his song—Besman had obtained Hooker'south rights to the song years before.[52] Withal, Gioia noted, "Nonetheless, his [John Lee Hooker's 1948] spontaneous performance in a recording studio had led to a substantial alter in U.S. intellectual holding law".[52]

Notes [edit]

Footnotes [edit]

  1. ^ Several sources list the recording date equally November 1948,[2] [three] which is the date Murray uses for the record release by Modern Records.[1]
  2. ^ The original Modern Records single listed the songwriter as "John Lee Hooker". Detroit record company owner Bernard Besman's proper name was afterwards added to the credit.
  3. ^ Both spellings take appeared on Hooker'due south original singles.
  4. ^ Besman later claimed that he suggested that Hooker record a boogie and played a few bars on the piano; Hooker denied that he ever heard Besman play piano or remembered a piano histrion in the studio.[xx]
  5. ^ Besman later chosen these figures "a crock of shit", just admitted "everybody in the record business was crooked".[32]
  6. ^ Canned Heat fellow member Alan Wilson, who played harmonica on "Boogie Chillen' No. 2", died before the Hooker 'northward Heat anthology comprehend photo was taken. His image appears as a portrait on the wall to the right of the window.

Citations [edit]

  1. ^ a b c d e Murray 2002, p. 118.
  2. ^ Gioia 2008, p. 237.
  3. ^ a b c d e Sax 1991, p. 1.
  4. ^ a b c d Koda, Cub. "John Lee Hooker: Boogie Chillen' – Song review". AllMusic . Retrieved June 18, 2013.
  5. ^ a b c d east f Palmer 1981, p. 243. sfn fault: no target: CITEREFPalmer1981 (aid)
  6. ^ a b c Dahl 1996, pp. 115–116.
  7. ^ Murray 2002, p. 90.
  8. ^ a b Gioia 2008, p. 241.
  9. ^ Gioia 2008, p. 244.
  10. ^ Gioia 2008, pp. 242–243.
  11. ^ Obrecht 2000, p. 427.
  12. ^ Obrecht 2000, pp. 406, 426–427.
  13. ^ Palmer 1981, p. 243–244. sfn error: no target: CITEREFPalmer1981 (help)
  14. ^ Murray 2002, p. 129.
  15. ^ Gioia 2008, p. 238.
  16. ^ a b c d Herzhaft 1992, p. 440.
  17. ^ "Mama Don't Allow – Song search results". AllMusic . Retrieved May 20, 2014.
  18. ^ "Moo-cow Moo-cow Davenport: Boogie No. iii". AllMusic . Retrieved May 20, 2014.
  19. ^ Murray 2002, p. 131.
  20. ^ a b Murray 2002, p. 127.
  21. ^ Kostelanetz & King 2005, p. 100.
  22. ^ a b Carlson 2005, p. 138. sfn error: no target: CITEREFCarlson2005 (help)
  23. ^ Murray 2002, p. 128.
  24. ^ a b Murray 2002, pp. 121–122.
  25. ^ Gioia 2008, p. 245.
  26. ^ Sullivan 2013, p. 609.
  27. ^ Whitburn 1988, p. 194.
  28. ^ Wilson, Jim (January 22, 1949). "Artists Become Workout in Bopping Onetime Tune". The Detroit Free Press. p. 14.
  29. ^ Whitburn 1988, p. 597.
  30. ^ Fancourt 1988, p. one.
  31. ^ Shadwick 2001, p. 303. sfn mistake: no target: CITEREFShadwick2001 (help)
  32. ^ Murray 2002, p. 135.
  33. ^ Gordon 2002, p. 101.
  34. ^ Gioia 2001, p. 245. sfn error: no target: CITEREFGioia2001 (aid)
  35. ^ a b c d Murray 2002, pp. 133–135.
  36. ^ Murray 2002, p. 134.
  37. ^ a b English 2007, p. 52.
  38. ^ Murray 2002, p. 133.
  39. ^ Murray 2002, p. 131 fn.
  40. ^ Boogie Chillun (Single characterization). John Lee Hooker. Vee-Jay Records. 1959. VJ 319. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  41. ^ Unterberger 1996, p. 117.
  42. ^ a b Planer, Lindsay. "Hooker 'northward Heat (Space Boogie) – Album review". AllMusic . Retrieved June 18, 2013.
  43. ^ O'Neal, Jim (Nov ten, 2016). "1985 Hall of Fame Inductees: Boogie Chillen – John Lee Hooker (Modernistic, 1948)". The Blues Foundation . Retrieved February 9, 2017.
  44. ^ "Grammy Hall of Fame Awards – By Recipients". Grammy.org. 1999. Archived from the original on Jan 22, 2011. Retrieved June 18, 2013.
  45. ^ "500 Songs That Shaped Rock and Roll". Rock and Scroll Hall of Fame. 1995. Archived from the original on May 2, 2007. Retrieved June 18, 2013.
  46. ^ "Complete National Recording Registry Listing". U.Due south. Library of Congress . Retrieved June nineteen, 2013.
  47. ^ Dawson & Propes 1992, eBook.
  48. ^ Palmer 1981, p. 244. sfn error: no target: CITEREFPalmer1981 (assist)
  49. ^ "Slim Harpo Knew the Dejection – Overview". AllMusic . Retrieved May 18, 2014.
  50. ^ Carson 2006, p. 167.
  51. ^ English 2007, pp. 52–53.
  52. ^ a b c Gioia 2008, p. 251.
  53. ^ a b English 2007, p. 53.

References [edit]

  • Carlson, Lenny (2006). "Boogie Chillen'". In Komara, Edward (ed.). Encyclopedia of the Blues. New York City: Routledge. ISBN978-0-415-92699-7.
  • Carson, David A. (2006). Grit, Dissonance, and Revolution: The Nascence of Detroit Rock 'n' Roll. Ann Arbor, Michigan: University of Michigan Printing. ISBN978-0-472-03190-0.
  • Dahl, Neb (1996). "John Lee Hooker". In Erlewine, Michael (ed.). All Music Guide to the Blues. San Francisco: Miller Freeman Books. ISBN0-87930-424-three.
  • Dawson, Jim; Propes, Steve (1992). What Was the Get-go Rock 'n' Roll Record?. London: Faber and Faber. ISBN0-571-12939-0.
  • English, Tim (2007). Sounds Like Teen Spirit: Stolen Melodies, Ripped-Off Riffs, and the Secret History of Rock and Gyre. iUniverse Star. ISBN978-1-58348-023-6.
  • Fancourt, Leslie (1988). John Lee Hooker: Boogie Chillen (CD notes). John Lee Hooker. Copenhagen, Denmark: Official Record. 86 029.
  • Gioia, Ted (2008). Delta Dejection (Norton Paperback 2009 ed.). New York Urban center: W. Due west. Norton. ISBN978-0-393-33750-ane.
  • Gordon, Robert (2002). Can't Be Satisfied: The Life and Times of Muddy Waters . New York City: Fiddling, Brownish. ISBN0-316-32849-9.
  • Herzhaft, Gerard (1992). "Boogie Chillen". Encyclopedia of the Blues. Fayetteville, Arkansas: University of Arkansas Press. ISBN1-55728-252-8.
  • Kostelanetz, Richard; King, B.B. (2005). The B.B. King Reader: Half-dozen Decades of Commentary. Milwaukee, Wisconsin: Hal Leonard. ISBN978-0-634-09927-4.
  • Mandel, Howard, ed. (2005). The Billboard Illustrated Encyclopedia of Jazz & Blues. New York City: Billboard Books. ISBN0-8230-8266-0.
  • Murray, Charles Shaar (2002). Boogie Homo: The Adventures of John Lee Hooker in the American Twentieth Century. New York City: Macmillan. ISBN978-0-312-27006-3.
  • Obrecht, Jas, ed. (2000). Rollin' and Tumblin': The Postwar Blues Guitarists . San Francisco: Backbeat Books. ISBN978-0-87930-613-7.
  • Palmer, Robert (1982). Deep Blues. New York City: Penguin Books. ISBN0-14-006223-eight.
  • Sax, Dave (1991). The Legendary Modernistic Recordings 1948–1954 (CD notes). John Lee Hooker. Flair Records/Virgin Records. 7243 eight 39658 2 3.
  • Shadwick, Keith (2007). "John Lee Hooker". The Encyclopedia of Jazz & Blues. London: Quantum Publishing. ISBN978-0-681-08644-9.
  • Schleimer, Joseph D. (February 1998). "Flaws in the 'La Cienega Fix'?: How New Legislation Affects Pre-1972 Recorded Songs". Entertainment Law & Finance. Leader Publications. XIII (11). Retrieved June 18, 2013.
  • Sullivan, Steve (2013). Encyclopedia of Great Popular Song Recordings. Lanham, Maryland: Scarecrow Printing. ISBN978-0-8108-8295-nine.
  • Unterberger, Richie (1996). "John Lee Hooker – Hooker & Estrus". In Erlewine, Michael (ed.). All Music Guide to the Dejection. San Francisco: Miller Freeman Books. ISBN0-87930-424-three.
  • Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Tape Research. ISBN0-89820-068-seven.

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Source: https://en.wikipedia.org/wiki/Boogie_Chillen%27

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