John Lee Hooker could be said to embody his own unique genre of the blues, often incorporating the boogie-woogie piano style and a driving rhythm into his masterful and idiosyncratic blues guitar and singing. His best known songs include "Boogie Chillen" (1948) and "Boom Boom" (1962).
There is some debate as to the year of John Lee Hooker's birth, 1915, 1917, 1920, and 1923 have all been cited, 1917 (the date on his grave marker in Oakland, California) is the one most commonly cited although Hooker himself claimed, at times, 1920.
Hooker was the youngest of the eleven children of William Hooker (1871–1923), a sharecropper and a Baptist preacher, and Minnie Ramsey (1875–?).
Hooker and his siblings were home-schooled. They were permitted to listen only to religious songs, with his earliest musical exposure being the spirituals sung in church.
In 1921, his parents separated. The next year, his mother married William Moore, a blues singer who provided John's first introduction to the guitar (and whom John would later credit for his distinctive playing style). The year after that (1923), John's natural father died; and at age 15, John ran away from home, never to see his mother and stepfather again.
He was a cousin of Earl Hooker,
Throughout the 1930s, Hooker lived in Memphis where he worked on Beale Street and occasionally performed at house parties. He worked in factories in various cities during World War II, drifting until he found himself in Detroit in 1948 working at Ford Motor Company. He felt right at home near the blues venues and saloons on Hastings Street, the heart of black entertainment on Detroit's east side. In a city noted for its piano players, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly, and seeking a louder instrument than his crude acoustic guitar, he bought his first electric guitar.
Though he stuttered slightly in his normal speech, he performed in a half-spoken style that became his trademark. Rhythmically, his music was free, a property common with early acoustic Delta blues musicians. His vocal phrasing was less closely tied to specific bars than most blues singers'. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound.
Hooker's recording career began in 1948 with the hit single, "Boogie Chillen" cut in a studio near Wayne State University.
Despite being illiterate, he was a prolific lyricist. In addition to adapting the occasionally traditional blues lyric (such as "if I was chief of police, I would run her right out of town"), he freely invented many of his songs from scratch. Recording studios in the 50s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs or variations on his songs for each studio. Due to his recording contract, he would record these songs under obvious pseudonyms such as "John Lee Booker," "Johnny Hooker", or "John Cooker".
His early solo songs were recorded under Bernie Besman.
John Lee Hooker rarely played on a standard beat, changing tempo to fit the needs of the song. This made it nearly impossible to add backing tracks. As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden palette.
John Lee Hooker's guitar playing is closely aligned with piano Boogie Woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are "Boogie Chillen," about being 17 and wanting to go out to dance at the Boogie clubs, "Baby Please Don't Go," a more typical blues song, summed up by its title, and "Tupelo," a stunningly sad song about the flooding of Tupelo, Mississippi.
He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing.
In 1989 he joined with a number of musicians, including Keith Richards and Carlos Santana to record The Healer, which won a Grammy award — one of many awards.
He fell ill just before a tour of Europe in 2001 and died soon afterwards at the age of 83.
Hooker recorded over 100 albums and lived the last years of his life in San Francisco, California, where he licensed a nightclub to use the name Boom Boom Room, after one of his hits.
Among his many awards, John Lee Hooker has a star on the Hollywood Walk of Fame.
In 1991 he was inducted into the Rock and Roll Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom" were named to the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
John Lee recorded several songs with Van Morrison, including "Never Get Out of These Blues Alive", "The Healing Game" and "I Cover the Waterfront". He also appeared on stage with Van Morrison several times, some of which was released on the live album "A Night in San Francisco".
John Lee also recorded in the sixties with british blues band The Groundhogs. These recordings are still available as a CD "John Lee Hooker with The Groundhogs". More importantly, Hooker recorded with the Blues-rock outfit Canned Heat, delivering the album 'Hooker N' Heat' in 1971. Hooker was influential and topical even in his lifetime, as evidenced in the MC5 cover of "Motor City's Burning" on their first album, recorded almost immediately after the riots which are the song's topic.
Don't Go Baby
John Lee Hooker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Baby, please, don't go
Baby, please, don't go back to New Orleans
Because I love you so
Turn your lamp down low
Turn your lamp down low
Turn your lamp down low, my heart is beating so
Made me weep and moan
You made me weep and moan
You made me weep and moan, don't leave me all alone
Baby, please, don't go
You got me way down here
You got me way down here
You got me way down here, you didn't shed a tear
Oh, baby, please, don't go
Baby, please, don't go
Baby, please, don't go
Baby, please, don't go
The lyrics to John Lee Hooker's song "Please Don't Go" depict a plea to a lover to stay the night and not return to New Orleans. The singer is passionately in love and fears losing the object of his affection. He begs her to turn down the lamp, conveying a sense of intimacy and vulnerability. The singer expresses his grief at the thought of his lover leaving him and emphasizes the emotional turmoil it has caused him. He is torn and desolate at the idea of being separated from his love.
The repetition of the phrase "Baby, please don't go" emphasizes the desperation and urgency of the singer's plea. The contrast between his intense feelings of love and desire and the indifferent demeanor of his lover emphasizes the emotional distance between them. The lyrics paint a portrait of someone who is deeply in love, but whose love is unrequited.
Overall, "Please Don't Go" is a song full of passion, pain, and longing. The lyrics express a sense of helplessness and a desperate bid to keep someone close, highlighting the fragility of love and the heartbreak it can cause.
Line by Line Meaning
Baby, please, don't go
The author is begging their loved one to not leave them and expresses their need for them to stay.
Baby, please, don't go back to New Orleans
The author is asking their loved one to not return to the city of New Orleans, possibly due to fears of distance or lack of spontaneity in their relationship.
Because I love you so
The author gives a straightforward reason as to why they don't want their loved one to leave - out of love.
Turn your lamp down low
The author is asking their loved one to make their environment dim, possibly as a romantic gesture to set the mood.
My heart is beating so
The author is expressing how emotionally intense the moment is and how anxious they feel about their loved one leaving them.
Made me weep and moan
The author reflects on the fact that their loved one has caused them to cry and experience emotional pain.
Don't leave me all alone
The author is pleading for their loved one to not abandon them, likely due to past experiences where they felt abandoned in a similar way.
You got me way down here
The author is expressing a sense of being emotionally low due to their loved one's decision to leave.
You didn't shed a tear
The author is feeling hurt that their loved one seems to be leaving without any remorse or sadness, causing more pain for the author.
Oh, baby, please, don't go
The author is repeating their plea for their loved one to not leave as the song comes to a close.
Lyrics © Wixen Music Publishing, BMG Rights Management
Written by: John Lee Hooker
Lyrics Licensed & Provided by LyricFind