Born 22 August 1917, Clarksdale, Mississippi, USA, d. 21 June 2001, Los Altos, California, USA. Dates vary between 1917 to 1920, but due to the age of Hooker's mother when he was born, 1917 is the most likely. He was born into a large family, of between 10 and 12 siblings, who all worked on the fields of a large tenanted agricultural farm. Hooker's first musical experiences, like those of so many other blues singers, were in church. A contrivance made from an inner tube attached to a barn door represented his first makeshift attempts at playing an instrument, but he subsequently learned some guitar from his stepfather William Moore, and they played together at local dances. At the age of 14, he ran away to Memphis, Tennessee, where he met and played with Robert Lockwood.
Two years later he moved to Cincinnatti, where he stayed for about 10 years and sang with a number of gospel quartets. In 1943, he moved to Detroit, which was to be his home for many years, and while working during the day as a janitor began playing at night in the blues clubs and bars around Hastings Street, at the heart of that city's black section. Over the years he had developed the unique guitar style that was to make his music so distinctive and compelling. In 1948 he was finally given the chance to record. Accompanied only by his own electric guitar and constantly tapping foot, "Boogie Chillen", with its driving rhythm and hypnotic drone of an accompaniment, was a surprise commercial success for Modern Records. The record is rumoured to have sold over a million copies, but this is contested by Hooker as it did not tally with his royalty statement. Over the next few years, they leased a large amount of his material first from Bernie Besman and later from legendary Detroit entrepreneur Joe Von Battle (both of whom also tried a few Hooker issues on their own Sensation and JVB labels, respectively).
Most of these early recordings feature Hooker performing entirely solo; only a few are duets with Eddie Kirkland or another guitarist, and there are one or two with a band. It seems that this solo setting was not typical of his live work at the time, which would have used a small band, probably including piano, second guitar and drums, but his idiosyncratic sense of timing always made him a difficult musician to accompany, and it may be that recording him solo was the most reliable way of ensuring a clean take. Nevertheless, his solo sound on these early records was remarkably self-sufficient. His unique open-tuned guitar enabled him to combine a steady rhythm with inspired lead picking, thereby making full use of his rich, very bluesy baritone vocals. Although this one-man-band format might suggest a throwback to a more down-home ambience, there is a certain hipness and urbane sophistication about these performances that represent a significant departure from the rural background of Hooker's music and contribute very strongly to his characteristic sound. While a solo blues singer was something of an anachronism by this time, there is no doubt that the records sold consistently.
From the late 40s to the early 50s, Hooker recorded prolifically and enjoyed an enormously successful run with Modern, producing such classic records as "Crawling King Snake", "In The Mood", "Rock House Boogie" and "Shake Holler & Run". Hooker became increasingly unhappy with the lack of financial reward for his recordings which appeared to sell well. He decided to moonlight, and recorded under a number of different names. Hooker's voice and style of playing is unmistakable and fans had no problem in sussing him out. With tongue firmly in cheek among the many names he adopted were; John Lee Booker, John Lee Cooker, Johnny Williams, Delta John, Sir John Lee Hooker, Little Pork Chops, Texas Slim, Birmingham Sam, John Lee, Boogie Man, Johnny Lee, and John L. Booker. Most of these were also leased from Joe Von Battle.
Hooker's recording success led to tours. He played the R&B circuit across the country and this further developed his popularity with the black American public. In 1955, he severed his connection with Modern and began a long association with Vee Jay Records of Chicago. By this time, the solo format was finally deemed too old-fashioned for the contemporary R&B market and all of these recordings used a tight little band, often including Eddie Taylor on guitar, as well as piano and various combinations of horns. The association with Vee Jay proved very satisfactory, both artistically and commercially, producing a string of hits such as the simplistic but brilliant "Dimples", "Maudie" and "Boom Boom" and promoting further extensive tours. In the late 50s, as the market for R&B was beginning to contract, a new direction opened up for Hooker and he began to appear regularly at folk clubs and folk festivals. He found himself lionized by a new audience consisting mainly of young, white listeners. The folk connection also resulted in new recordings, issued on album by Riverside Records, which reverted to the solo acoustic format. While these recordings lacked the hard edge of the best of his earlier commercial sides, they were fascinating for the fact that the producers encouraged him to dig back into his older repertoire. Several songs reflecting his rural Mississippi background, such as "Bundle Up And Go" and "Pea Vine Special" were given his distinctive treatment. These records spread his name more widely when they were released overseas.
In the early 60s his reputation grew considerably as he was often cited by younger pop and rock musicians, in particular the Animals and the Rolling Stones, as a major influence. As a result international tours soon followed. Throughout this period, he continued to release singles and albums on Vee Jay, but records also appeared on other labels. Later in the 60s, he made a number of records for Bluesway, aimed at this younger market. The connection with a new generation of musicians led to various "super sessions", predictably of varying quality, but bearing fruit most successfully in the early 70s with the release of the stunning Hooker 'N' Heat, in which he played with the American rock blues band Canned Heat. Their famous long improvised boogies clearly owed a great deal to the influence of the older man.
Although the popular enthusiasm for blues waned for a while in the late 70s and early 80s, Hooker's standing rarely faltered and he continued to tour, latterly with the Coast To Coast Blues Band. His early recordings were repackaged and re-released over and over again, with those companies who used him pseudonymously in the early days now proudly taking the opportunity to capitalize on his real name. A remarkable transformation came in 1989 when Hooker recorded The Healer. This superb album featured stellar guest artists on most tracks, including Bonnie Raitt (who is on record as saying that Hooker's guitar sound is one of the most erotic things she has ever heard), Los Lobos, and a duet with Carlos Santana on the title cut. If such a thing as "Latin blues" existed, this was it. The Healer has gone on to become one of the biggest-selling blues records of all time, and by prompting other older statesmen to record again helped fuel a new blues revival. The 1991 follow-up Mr Lucky reached number 3 in the UK album charts, setting a record for Hooker, at 74, as the oldest artist to achieve that position. On this second guest album he was paired with Ry Cooder, Van Morrison, Albert Collins, and a gamut of other superstars. In his old age, Hooker had begun to fulfil the role of elder statesman of the blues, even appearing in an advertisement for a multinational chemical corporation. The Hooker revival continued right through 1992 with the use of a new version of "Boom Boom" for a Lee Jeans television advertisement. Both the single and the subsequent album were considerable hits.
Following a hernia operation in 1994 the great man decided to slow down and enjoy his cars and houses. Another fine release, Chill Out, came in 1995. Shortly after its release it was announced that Hooker had retired from performing and was prepared to rest until they "lowered his bones into the earth". However, he was back on stage performing in 1996 and released a new album in 1997. Don't Look Back was a Van Morrison production and bore clear signs of his influence; Morrison's "The Healing Game" and Jimi Hendrix's "Red House" were the highlights, and "Don't Look Back" was beautifully understated, with some fine noodling organ and guitar from Charles Brown and Danny Caron respectively. Another reworking of "Dimples" added nothing to the classic Vee Jay recording. Three years later, Hooker's voice and guitar were cleverly sampled by Ludovic Navarre on the St Germain track, "Sure Thing".
Hooker's discography is an absolute minefield; so many tracks have been licensed and re-licensed by so many different labels and much of his regular catalogue is in fact a series of compilations. Goldmine magazine (March 1992) is the best attempt so far. Dozens of his songs have also been issued under alternative titles, with only slight changes in the lyrics. Charles Shaar Murray's labour of love, Boogie Man, is the definitive book on Hooker. This highly readable biography does not patronise one of the key figures of post-war blues, but objectively celebrates and respects the man's massive contribution to his art. Hooker's remarkable voice came from deep within, it was hollow and creamy with a brittle edge. To hear him sing solo (as on 1976's superb Alone ) gives the listener an indication of how true he was to his art. This formidable "cool dude" was the last surviving giant of the real delta folk blues, and therefore, represented a final touchstone with a body of music that is both rich in history and unmatched in its importance. It is a fitting tribute to the great man that he died peacefully in his sleep.
Albums
Everybody's Blues 1950 Speciality
Folk Blues 1959Crown
The Country Blues of John Lee Hooker 1960 Riverside
Blues Man 1960 Battle
House of the Blues 1960 MCA/Chess
I'm John Lee Hooker 1960 Vee-Jay
Travelin' 1960 Vee-Jay
The Folk Lore of John Lee Hooker 1961 Vee-Jay
John Lee Hooker Plays and sings the Blues 1961 MCA/Chess
John Lee Hooker Sings the Blues 1961 King
Burnin' 1962 Vee-Jay
Tupelo Blues 1962 Riverside
Don't Turn Me from your Door 1963 Atlantic
Live at Sugarhill 1963 Galaxy
John Lee Hooker 1963 Galaxy
The Great John Lee Hooker 1964 Crown
John Lee Hooker at Newport 1964 Vee-Jay
The Big Soul of John Lee Hooker 1964 Vee-Jay
I Want to shout the Blues 1964 Vee-Jay
Great Blues Sound 1964 United
Burning Hell 1964 OriginalBlues
Seven Nights 1965 OriginalBlues
It serves you right to suffer 1966 Impulse
The Real Folk Blues 1966 MCA/Chess
Live at Cafe Au Go-Go 1966 MCA
Live at Cafe Au Go-Go 1967 BGO
Urban Blues 1967 MCA
Hooked on Blues 1968 Archive Folk
Get Back Home 1969 Evidence
Simply the Truth 1969 One way
Big Red Blues 1969 Buddah
That's Where It's At! 1969 Stax
Big Maceo & John Lee Hooker 1969 Fortune
Highway of Blues 1969 King
John Lee Hooker on the Waterfront 1970 Wand
Moanin' and Stompin' Blues 1970 King
Endless Boogie 1970 MCA
If you Miss I'm...I Got I'm 1970 Bluesway
No Friend Around 1970 Red Lightnin'
Coast to Coast Blues Band 1971 United Artists
Goin' Down Highway 51 1971 Specialty
I Feel Good 1971 Jewel
Live at Soledad Prison 1972 ABC
Boogie Chillun 1972 Fantasy
Never Get Out of the Blues Alive 1972 ABC
Detroit Special 1972 Atlantic
Born in Mississipi 1973 ABC
Live at Kabuki Wuki 1973 Bluesway
Kabuki Wuki 1973 Bluesway
Free Beer & Chicken 1974 ABC
John Lee Hooker 1974 Xtra
Mad Man Blues 1974 MCA
Black R & B 1975 Musicdisc
John Lee Hooker 1975 Verve
In Person 1976 Dynasty
Alone 1976 Rhino
Black Snake 1977 Fantasy
Dimples 1977 Djm
Dusty Road 1977 Bellaphon
The Cream 1978 Rhino
Live 1978 Lunar
Sad & Lonesome 1979 Muse
Living with the Blues 1979 Musicdisc
How Long Blues 1979 Battle
In the Mood 1979 Up Front
King of Folk Blues 1979 Musicdisc
Slims Stomp 1979 Polydor
Everybody Rockin' 1980 Charly
This is Hip 1980 Charly
Sittin' here Thinkin' 1980 Muse
John Lee, vol. 1 1981 Ace
Hooker 'n' Heat 1981 Rhino
Chess Masters 1982 Chess
Tantalizing the Blues 1982 MCA
Hookered on Blues 1983 Jsp
Blues Before Sunrise 1984 Astan
Do the Boogie 1984 Happy Bird
Solid Sender 1984 Charly
Jealous 1987 Chase Music
Detroit Blues 1987 Flyright
House Rent Boogie 1987 Charly
The Blueway Session 1988 Charly
John Lee Hooker 1988 Charly
John Lee Hooker Live 1988 Tomato
Want And Blues 1988 Joker
Highway 51 1989 Passport
Let's make it 1989 Charly
The Healer 1989 Chamelon
Hobo Blues 1990 Roots
Don't you remember me 1990 Charly
Walking the Blues 1991 Huub
More Real Folk Blues 1991 MCA/Chess
Mr.Lucky 1991 Pointblack
I'm in the Mood 1992 Sound
Boom Boom 1992 Pointblack
Graveyard Blues 1992 Specialty
Turn Up the Heat! 1992 CEMA
I Feel Good 1993 Spotlight
Nothing But The Blues 1993 Magnum
Live 1994 CEMA
Blues For My Baby 1995 Fantasy
Helpless Blues 1995 Realisation
Chill Out 1995 Virgin
Moaning The Blues 1996 Charly
Alone: The first Concert 1996 Blues Alliance
Electric 1996 Collector's
Don't Look Back 1997 Virgin
Alone: The second Concert 1997 Blues Alliance
Hooker & The Hogs 1997 Indigo
You Don't Remember Me 1998 See For Miles
Black Man Blues 1998 MIL
Canned Heat 2000 EMI
On Campus 2000 Collectables
Guitar Loving Man 2000 JCI
Half a Stranger 2000 Mainstream
World's Greatest Blues Singer 2000 Vee-Jay
Boom Boom 2000 Charly
John Lee Hooker 2000 Collection
Anywhere, Anytime, Anyplace 2000 United Artists
Boogie Man 2000 Instant
Lonesome Road 2000 MCA
Boogie Chillun 2000 Charly
Down at the Landing 2000 Onyx Classix
King of the Boogie 2000 Drive Archive
That's my Story 2000 Original Blues
John Lee Hooker's Boom Boom Room San Francisco's home to blues and boogie.
Rock and Roll Hall of Fame: John Lee Hooker a giant of the blues and the father of the boogie.
Rosebud Agency: John Lee Hooker tour dates, biography, album info, and news.
Virgin Records: John Lee Hooker
