Reed was born in Dunleith, Mississippi, in 1925, learning the harmonica and guitar from Eddie Taylor, a close friend. After spending several years busking and performing in the area, Reed moved to Chicago, Illinois, in 1943 before being drafted into the US Navy during World War II. In 1945, Reed was discharged and moved back to Mississippi for a brief period, marrying his girlfriend, Mary "Mama" Reed, before moving to Gary, Indiana to work at an Armour & Co. meat packing plant. Mama Reed appears as an uncredited background singer on many of his songs, notably the major hits "Baby What You Want Me to Do", "Big Boss Man" and "Bright Lights, Big City".
By the 1950s, Reed had established himself as a popular musician and joined the "Gary Kings" with John Brim, as well as playing on the street with Willie Joe Duncan. Reed failed to gain a recording contract with Chess Records, but signed with Vee-Jay Records through Brim's drummer, Albert King. At Vee-Jay, Reed began playing again with Eddie Taylor and soon released "You Don't Have to Go", his first hit record. This was followed by a long string of hits.
Reed maintained his reputation despite his rampant alcoholism; sometimes his wife had to help him remember the lyrics to his songs while recording. In 1957, Reed developed epilepsy, though the condition was not correctly diagnosed for a long time, as Reed and doctors assumed it was delirium tremens.
In spite of his numerous hits, Reed's personal problems prevented him from achieving the same level of fame as other popular blues artists of the time, though he had more hit songs than many others. When Vee-Jay Records closed down, Reed's manager signed a contract with the fledgling ABC-Bluesway label, but Reed was never able to score another hit.
In 1968 he toured Europe with the American Folk Blues Festival.
Jimmy Reed died in Oakland, California in 1976, of respiratory failure, eight days short of his 51st birthday. He is interred in the Lincoln Cemetery in Worth, Illinois.
In 1991 Reed was posthumously inducted into the Rock and Roll Hall of Fame.
The Rolling Stones have cited Reed as a major influence on their sound, and their early set lists included many of Reed's songs, including tracks like "Ain't That Lovin' You Baby", "The Sun is Shining" (also played at the Stones' 1969 Altamont concert), "Bright Lights, Big City" and "Shame, Shame, Shame" ; the B-side of their February 1964 hit single "Not Fade Away" was a pastiche of "Shame, Shame, Shame" entitled "Little by Little". Their first album, The Rolling Stones, (subtitled England's Newest Hit Makers in America), released in April 1964, featured both "Little by Little" and their cover of Reed's "Honest I Do".
The Yardbirds recorded an instrumental dedicated to him entitled "Like Jimmy Reed Again", which was released on the "definitive edition" of their album Having a Rave Up.
Van Morrison's group Them covered "Bright Lights, Big City" and "Baby, What You Want Me To Do", both of which can be found on The Story of Them Featuring Van Morrison.
"Big Boss Man" was sung regularly by Ron "Pigpen" McKernan with the Grateful Dead during the 1960s and early 1970s and appears on their live album Skull and Roses. It was revived a few times by Jerry Garcia with the Dead during the 1980s. Bob Weir of the Dead also played it a few times with Kingfish in the mid 70s, and more recently with Ratdog. Phil Lesh also plays it with Phil & Friends. The Grateful Dead have also performed Baby What You Want Me to Do with Brent Mydland on vocals.
Elvis Presley recorded several of Reed's songs, scoring a 1967 hit with "Big Boss Man" and recording several performances of "Baby, What You Want Me to Do" for his 1968 Comeback TV Special. (However, Presley's 1964 hit, "Ain't That Lovin' You Baby" is a different song than that recorded by Reed.) The song "Baby, What You Want Me to Do" was also covered by Wishbone Ash on their 1972 live album, Live Dates. "Baby What You Want Me to Do" was also frequently performed by Etta James and Hot Tuna. Johnny and Edgar Winter performed the song live in 1975 and included it on Johnny and Edgar Winter Together.
Reed's recordings of "Big Boss Man" and "Bright Lights, Big City" were both voted onto the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
Noted Austin, Texas musicians, Omar Kent Dykes and Jimmie Vaughan released an album entitled On the Jimmy Reed Highway as a tribute to Reed.
Bill Cosby covered 4 of Reed's songs – "Bright Lights, Big City", "Big Boss Man", "Hush Hush" and "Aw Shucks, Hush Your Mouth" – on his 1967 album Silver Throat: Bill Cosby Sings.
Steve Miller Band covered 5 of Reed's songs – "You're So Fine" on his 1968 album Sailor; "I Wanna Be Loved (But By Only You)", "Big Boss Man", "Caress Me Baby" and "Ain't That Lovin' You Baby" on his 1986 album Living in the 20th Century.
Neil Young historically plays Reed's music to his audience before his shows.
British punk pioneer Billy Childish and his band Thee Headcoats released an EP of Reed covers entitled The Jimmy Reed Experience on Get Hip Records in 1997.
Aw Shucks Hush Your Mouth
Jimmy Reed Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I said, shucks, a-hush your mouth, baby you knockin' me out
You my kind a woman, you know what it's all about
When ya say, the sweet things, they ring all in my head
Yeah, when ya say, the sweet thing, they ring all in my head
You've got me on the run, an' honey I can't leave you
Oh, hush hush, shut your mouth, baby you knockin' me out
All the good in me, you know you bringin' it out, oh
Jimmy Reed’s song Aw Shucks Hush Your Mouth is a classic blues song that utilizes repetition and wordplay to convey a message of love and admiration. The singer tells his lover to “hush her mouth” because her sweet words are causing him to be overwhelmed with emotion. He refers to her as his “kinda woman,” implying that she is the perfect match for him. The repetition of the phrase “knocking me out” shows the intensity of the singer’s emotions and how the woman has the power to affect him deeply.
The singer seems to be unable to resist the woman’s charms, as he says that he is “on the run” and unable to “leave” her. This shows the power dynamic of the relationship, with the woman having control over the man’s emotions. However, the singer seems to enjoy this, as he says that the woman is bringing out all the good in him.
The bluesy guitar and upbeat tempo of the song create a lively vibe that contrasts with the message of the lyrics. This juxtaposition makes the song more interesting, as it shows the mixed emotions that the singer is feeling. The playful wordplay and repetition, combined with the singer’s soulful voice, create a memorable tune that captures the essence of classic blues music.
Line by Line Meaning
Aw shucks, hush your mouth, baby you knockin' me out
Oh my goodness, please be quiet, you're overwhelming me with your beauty
I said, shucks, a-hush your mouth, baby you knockin' me out
I'm telling you to please stop because your stunning appearance is making me weak
You my kind a woman, you know what it's all about
You are the type of woman who understands what life is all about, and I appreciate that
When ya say, the sweet things, they ring all in my head
Whenever you say something kind to me, those words linger in my mind
Yeah, when ya say, the sweet thing, they ring all in my head
Yes, even when you say one nice thing, it stays in my thoughts
You've got me on the run, an' honey I can't leave you
I feel like I'm chasing after you, and I can't bear the thought of being away from you
Hush hush, shut your mouth, baby you knockin' me out
Please be quiet, your incredible presence is overwhelming me
Oh, hush hush, shut your mouth, baby you knockin' me out
I am begging you to stop talking because I can't handle how much I like you
All the good in me, you know you bringin' it out, oh
You are the one who brings out the best in me, and I really appreciate that
Lyrics © BMG Rights Management
Written by: JIMMY REED
Lyrics Licensed & Provided by LyricFind
cleo norfleet
I love the way Jimmy Reed play the guitar one of the greatest blues singers of all time
GothikGem
Jimmy Reed performs songs which are similar to one another....however, that's OK.....cos they're all good.....good tunes, good rhythm, good beat, good improvisation and feel good! 🎵🎵🎶🎶
Blues Sevenfold
Really love Jimmy Reed's soft and tender vocals. <3
Even if you're not into the Albert King style of blues (which I'm really not), I highly recommend Jimmy Reed to anyone to thinks they don't like the blues. Slim Harpo and Lazy Lester are similar blues artists with the Jimmy Reed vibe. Charlie Musselwhite is a more contemporary blues artist that draws more from Jimmy Reed's style than Albert King's style. Go listen to River Hip Mama from him!
Burt Turgidson
lol'd at your expertise man, no offense
Bob Wilson
I loved his voice and his style
Willie Edwards
My dad had all of Jimmy records,and when he wasn't home,me and sisters listen to Jimmy songs,we just loved his music.
Jacob Rodriguez
The "real" king of the blues through the 60's
Marcella Norfleet
J R had it going on!! Yes sir! You can't beat him! He's the original for sure!!! 2019. Thanks for sharing.
Bill Hudson
One of the greatest and I'm quite sure this is where stevie ray got his right hand rhythm. 😎
sauquoit13456
On this day in 1962 {January 21st} "Aw Shucks, Hush Your Mouth"* by Jimmy Reed entered Billboard's Top 100 chart at position #95, the following week it fell off the chart, it then re-entered the chart at it's peak position of #93* {for 1 week} and it spent five weeks on the Top 100...
"Aw Shucks, Hush Your Mouth" didn't make Billboard's Hot R&B Singles chart , but between 1955 and 1966 he had nineteen records on the R&B chart, eight made the Top 10 with his three biggest hits all peaking at #3, "Ain't That Lovin' You Baby" {1956}, "You've Got Me Dizzy" {1956}, and "Bright Lights, Big City" {1961}...
Mathis James Reed passed away at the young age of 50 on August 29th, 1976 {respiratory failure}...
May he R.I.P.
* And from the 'For What It's Worth' department; the week "Aw Shucks, Hush Your Mouth" peaked at #93 on the Top 100 chart, Mr. Reed's fellow Vee-Jay record's label mate Gene Chandler was at #2 with 'The Duke of Earl", the following week it peaked at #1 for three weeks...