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."
Voodoo Music
J.B. Lenoir Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The voodoo music's all over the world
And look what it's doing to the beautiful girls
It's got them jumping and acting real crazy
The voodoo music gonna knock you crazy
Voodoo, the voodoo
The voodoo music have infected the boys
They jump real crazy and they laugh with joy
It makes them feel like they own the world
It makes them think they is controlling them girls
The voodoo, the voodoo
The voodoo music got the whole world on the go
The voodoo music got the whole world on the go
The voodoo music will get to you
Make you pat your feet and make you happy too
You pat your hands and you jump about
The voodoo music gonna knock you out
The voodoo, the voodoo
The voodoo music got the whole world on the go
Everybody's dancing and singing
I see them going round and round singing
Voodoo, round and round, the voodoo
The voodoo music got the whole world on the go
Everybody's dancing round and round
The voodoo music got the whole world on the go
The voodoo
The lyrics to J.B. Lenoir's "Voodoo Music" speak to the infectious, entrancing quality of the titular music style. The singer notes that the music has spread all over the world and is affecting both men and women, making them act "real crazy." The song specifically references the way that the music's rhythmic, pulsing qualities can make people dance and jump about, as well as the way it can create feelings of control and empowerment in the listener. It's clear that the voodoo music is seen as a powerful force that can seemingly take over a person's body and mind.
In terms of interpretation, the song could be seen as a celebration of the way that music can bring people together and create a shared sense of joy and excitement. At the same time, there's a sense that there's something almost supernatural about the voodoo music, something that's beyond the control of the individuals experiencing it. The repeated refrain of "the voodoo music got the whole world on the go" reinforces this idea of a force that's both pervasive and somewhat mystical.
Overall, the lyrics to "Voodoo Music" capture the intoxicating power of great music and the way that it can make people feel wild and free.
Line by Line Meaning
The voodoo music got the whole world on the go
The worldwide spread of voodoo music has resulted in a captivating enthralment
The voodoo music's all over the world
And look what it's doing to the beautiful girls
It's got them jumping and acting real crazy
The voodoo music gonna knock you crazy
Girls all over the world are hooked on the energy of voodoo music, jumping around and exhibiting aberrant behavior
The voodoo, the voodoo
The voodoo music got the whole world on the go
The prevalence of voodoo music is causing people worldwide to become consumed by its impact
The voodoo music have infected the boys
They jump real crazy and they laugh with joy
It makes them feel like they own the world
It makes them think they is controlling them girls
Boys worldwide have also been impacted by voodoo music, eliciting an intense joy within them and an unfounded sense of ownership over girls
The voodoo music will get to you
Make you pat your feet and make you happy too
You pat your hands and you jump about
The voodoo music gonna knock you out
Voodoo music has a gripping effect and is capable of making you happy, causing you to tap your feet and jump about uncontrollably
The voodoo, the voodoo
The voodoo music got the whole world on the go
The magnitude of the impact of voodoo music is causing everyone to take notice and become deeply enraptured
Everybody's dancing and singing
I see them going round and round singing
Voodoo, round and round, the voodoo
The whole world is singing and dancing to voodoo music, going round and round, each one more captivated than the other
The voodoo music got the whole world on the go
Everybody's dancing round and round
The voodoo music got the whole world on the go
The voodoo
The powerful affect of voodoo music continues to ensnare everyone, causing them to dance round and round and experience the hypnotic power of the voodoo beats
Contributed by Chloe Y. Suggest a correction in the comments below.