Lenoir's guitar-playing father introduced him to the music of Blind Lemon Jefferson, whose music became a major influence. During the early 1940s, Lenoir worked with blues artists Sonny Boy Williamson II and Elmore James in New Orleans. Lenoir would eventually find musical influence in Arthur Crudup and Lightnin' Hopkins.
In 1949, he moved to Chicago and Big Bill Broonzy helped introduce him to the local blues community. He began to perform at local nightclubs with musicians such as Memphis Minnie, Big Maceo Merriweather, and Muddy Waters, and became an important part of the city's blues scene. He began recording in 1951 the J.O.B. and Chess Records labels. His recording of "Korea Blues" was licensed to and released by Chess, as having been performed by 'J. B. and his Bayou Boys'. His band included pianist Sunnyland Slim, guitarist Leroy Foster, and drummer Alfred Wallace.
During the 1950s Lenoir recorded on various record labels in the Chicago area including J.O.B., Chess, Parrot, and Checker. His more successful songs included "Let's Roll", "The Mojo" featuring saxophonist J. T. Brown, and the controversial "Eisenhower Blues" which his record company, Parrot, forced him to re-record as "Tax Paying Blues."
Lenoir was known in the 1950s for his showmanship - in particular his zebra-patterned costumes - and his high-pitched vocals. He became an influential electric guitarist and songwriter, and his penchant for social commentary distinguished him from many other bluesmen of the time. His most commercially successful and enduring release was "Mamma Talk To Your Daughter", recorded for Parrot in 1954 which reached #11 on the Billboard R&B chart and was later recorded by many other blues and rock musicians. In the later 1950s (recording on the Checker label), he wrote several more blues standards including; "Don't Dog Your Woman", and "Don't Touch My Head!!!" (1956).
In 1963, Lenoir recorded for USA Records as 'J. B. Lenoir and his African Hunch Rhythm', developing an interest in African percussion. However, he struggled to work as a professional musician and for a time took menial jobs, including working in the kitchen at the University of Illinois in Champaign. Lenoir was rediscovered by Willie Dixon, who recorded him with drummer Fred Below on the albums Alabama Blues and Down In Mississippi (inspired by the Civil Rights and Free Speech movements). Lenoir toured Europe, and performed in 1965 with the American Folk Blues Festival in the United Kingdom.
Lenoir's work had direct political content relating to racism and the Vietnam War.
"Alabama Blues"
“I never will go back to Alabama, that is not the place for me,
I never will go back to Alabama, that is not the place for me,
You know they killed my sister and my brother,
And the whole world let them peoples go down there free.”
He died on April 29, 1967 in Urbana, Illinois, aged 38, from a heart attack related to injuries he suffered in a car accident three weeks earlier.
His death was lamented by John Mayall in the songs, "I'm Gonna Fight for You, J.B." and "Death of J. B. Lenoir".
The 2003 documentary film The Soul of a Man, directed by Wim Wenders as the second instalment of Martin Scorsese's series The Blues, explored Lenoir's career, together with those of Skip James and Blind Willie Johnson.
In 2011, Lenoir was inducted to the Blues Hall of Fame.
Although his name is sometimes mispronounced like the French "lan WAH", Lenoir himself pronounced his name a "la NOR". The initials "J.B." had no specific meaning; his given name was simply "J.B."
God's Word
J.B. Lenoir Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Iyiola Bolarinwa
Omo oba nimi
Ase oba nbe Lara mi
Oba no dey loose guard
Oba no dey cry
Situation no dey break oba
Oba no dey FAIL
Records no dey break oba
Oba just dey break Records
Protocols no dey stop oba
But Oba just dey stop Protocols
Dem dey see Casting down
Oba just dey see lifting up
Oba enters club
Oba turns club into Church
Oba enters the desert
Oba turned the desert into beauty
Oba dey for Primary School
Oba still dey lecture professors
Awon oba o Kin Japa
Won de Kin experience Sapa
Oba is not a Chorister
Oba is a minister
Cos oba no dey entertain
Oba no dey smoke smoke
But Oba's smoke dey break yoke
Oba no dey smoke weed
But oba just dey grow seed
Oba oba
Oba is high on the Most high
E dey smoke gbana
But e don swallow Olugbala
So he is a fire
And when he enters into the fire
He turns the fire into A.C
Oba carry Jesus
So e no dey experience seizures
He no dey have cancer
Cos the Angels are his bouncers
He no dey huzzle for title
But He carries the MANTLE
That is why e no dey loose any battle
Oba is a teacher
But all his students dey speak in tongues
Oba is a doctor
His patients no dey taste drugs drugs
Oba is a king in a Kingdom
So witches and wizards no dey trespass
Oba oba oba
If you know what you carry
You will tarry
And never be in a hurry
Cos the king is in you
Oruko mi ni Iyiola Bolarinwa
Omo Oba ni mi
Ase oba nbe Lara mi
The lyrics to J.B. Lenoir's song "God's Word" convey the power and authority of God, symbolized as the Oba, a Yoruba term for king. The song emphasizes that the Oba is always in control and does not falter in the face of challenges or difficult situations. The Oba does not lose guard or cry, demonstrating unwavering strength.
The Oba is depicted as someone who breaks records and defies expectations, never failing in any endeavor. Protocols and limitations do not hinder the Oba, as they can stop protocols themselves. The Oba sees success where others see failure, lifting up those who are cast down. The Oba's influence is so potent that even clubs are transformed into places of worship and deserts become beautiful.
The Oba is not only present in ordinary settings but also in extraordinary circumstances. The Oba can be found in primary schools, teaching and lecturing professors, highlighting the superiority and knowledge possessed. This reflects the idea that the divine can be found anywhere and can transcend human understanding. The Oba does not require entertainment but rather ministers to others.
Although the Oba does not partake in vices such as smoking or drugs, the Oba's "smoke" or presence is powerful enough to break yokes and provide liberation. This suggests that the Oba possesses a transformative and healing energy. The Oba is associated with the Most High, symbolizing a deep spiritual connection. Through this connection, the Oba is able to overcome adversity, turning even the fieriest situations into coolness and comfort.
The Oba is depicted as carrying Jesus, which grants the Oba protection and an absence of afflictions such as seizures or cancer. The presence of Angels acts as his security, preventing negative influences from approaching. The Oba is not focused on earthly titles or positions, but instead carries the mantle of divine authority. This mantle ensures victory in every battle and triumphs over obstacles.
The song concludes with a message encouraging self-awareness and the recognition of one's own inner power. By acknowledging and understanding one's own significance, individuals can cultivate patience and avoid rushing through life. The Oba serves as a reminder that greatness resides within each person, waiting to be discovered and embraced.
Line by Line Meaning
Oruko mi ni
My name is
Iyiola Bolarinwa
Iyiola Bolarinwa
Omo oba nimi
I am a child of a king
Ase oba nbe Lara mi
The power of the king is within me
Oba no dey loose guard
The king never lets his guard down
Oba no dey cry
The king does not cry
Situation no dey break oba
Difficulties do not break the king
Oba just dey shock Situations
The king always surprises challenging situations
Oba no dey FAIL
The king never fails
Records no dey break oba
Achievements do not limit the king
Oba just dey break Records
The king constantly sets new records
Protocols no dey stop oba
Rules and regulations do not hinder the king
But Oba just dey stop Protocols
But the king often defies protocols
Dem dey see Casting down
Others perceive destruction
Oba just dey see lifting up
But the king sees opportunities for elevation
Oba enters club
The king enters a gathering
Oba turns club into Church
The king transforms the gathering into a sacred space
Oba enters the desert
The king goes into challenging situations
Oba turned the desert into beauty
But the king turns those challenges into something beautiful
Oba dey for Primary School
The king is at the basic level
Oba still dey lecture professors
But the king still teaches professors
Awon oba o Kin Japa
Kings do not flee
Won de Kin experience Sapa
They do not encounter failure
Oba is not a Chorister
The king is not just a singer
Oba is a minister
But the king is a spiritual leader
Cos oba no dey entertain
Because the king is not here for entertainment
Oba no dey smoke smoke
The king does not indulge in smoking
But Oba's smoke dey break yoke
But the king's presence breaks bondage
Oba no dey smoke weed
The king does not use drugs
But oba just dey grow seed
But the king cultivates positivity
Oba oba
King, king
Oba is high on the Most high
The king is connected to a higher power
E dey smoke gbana
He smokes authority
But e don swallow Olugbala
But he has embraced salvation
So he is a fire
So the king is full of passion
And when he enters into the fire
And when he faces challenges
He turns the fire into A.C
He turns those challenges into comfort
Oba carry Jesus
The king carries the divine presence
So e no dey experience seizures
So he does not encounter attacks
He no dey have cancer
He is not affected by negativity
Cos the Angels are his bouncers
Because angels protect him
He no dey huzzle for title
He does not struggle for recognition
But He carries the MANTLE
But he bears the authority
That is why e no dey loose any battle
That is why he never loses a battle
Oba is a teacher
The king is an instructor
But all his students dey speak in tongues
But all his followers speak in unknown languages
Oba is a doctor
The king is a healer
His patients no dey taste drugs drugs
His patients do not need medication
Oba is a king in a Kingdom
The king rules in his own domain
So witches and wizards no dey trespass
So evil forces cannot disturb
Oba oba oba
King, king, king
If you know what you carry
If you understand your own potential
You will tarry
You will wait patiently
And never be in a hurry
And never be impatient
Cos the king is in you
Because the king resides within you
Oruko mi ni Iyiola Bolarinwa
My name is Iyiola Bolarinwa
Omo Oba ni mi
I am a child of a king
Ase oba nbe Lara mi
The power of the king is within me
Lyrics © O/B/O DistroKid
Written by: Bolarinwa Iyiola
Lyrics Licensed & Provided by LyricFind
@davidteissier5704
Just one of the best Blues album of all time ❤️❤️❤️❤️👌👌👌👌
@karthdinkler9924
JBL is too beautiful for words. And the photographs here -- the one of the tear running down the child's cheek. The pain in this world is NOT acceptable. No way, no way.
@manlypedro75
I was saved by this song.
@coravisser727
Respect for this blues music it is real legend and it is beautifull.
@williamv2048
yeah baby... got the blues!!!!
@carvalhorogeriode
Muito bom gostei mostra uma realidade da época.
@PrincessRadojka
Excellent. Bravo pour cette video et un grand merci pour le partage :-)
@BackToTheBlues
Lovely - JB's sparse guitarwork on this one reminds me of the tracks blues pianist Curtis Jones recorded on guitar for his Blue Horizon LP 'Now Resident In Europe'.
@boballen9835
1.16.18. sometimes I get caught up in JB's music for days.
@tantocomoaqueldia
thanks for this beatiful song.its very nice