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.
You Talk Too Much
John Lee Hooker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You talk too much
You talk too much, baby
You talk too much
You yak, yak, yak
You yak too much
You talk in the mornin'
You talk about people that don't
That even don't know you
Talk too much
Baby, you talk too much, baby
You talk too much, mama
You talk too much, mama
Mama, you talk too much
Mama, mama, mama
You talk too much
Mama, mama, mama
You talk too much
You talk too much, mama
You yak, yak, yak
Yak, yak all the time
You yak your mouth
Your big mouth will ruin you woman
Your big mouth will ruin you woman
Yak, yak, yak all the time
Talk about people that
You just don't know
Yak, yak, yak
Yak, yak, yak all the time
Yak, yak, yak your big mouth
All the time, all the time
You talk too much woman
The song "You Talk Too Much" by Canned Heat featuring John Lee Hooker discusses a woman who talks far too much. This woman talks both day and night, and often about people she doesn't even know. Her constant talking is seen as annoying and potentially damaging to herself. The lyrics express a desire for her to stop this habit and be more mindful of what she says.
Beyond simply portraying the woman's talking habits, the song could also be interpreted as a commentary on societal norms surrounding communication. For example, it could be seen as suggesting that society encourages people to talk too much, even to the point where it becomes detrimental to themselves and others. Alternatively, it could be seen as a criticism of people who talk excessively without taking the time to listen and understand others.
Overall, the song warns against the dangers of talking too much and encourages listeners to be mindful of their own communication habits.
Line by Line Meaning
You talk too much, baby
You speak excessively, excessively, excessively, dear
You talk too much
You speak excessively
You yak, yak, yak
You speak for a long time, for a long time, for a long time
You talk in the mornin'
You speak early in the day
You talk all night long
You speak throughout the entire night
You talk about people that don't
You speak about individuals whom you've never met
That even don't know you
Those whom you've never met, don't even recognize you
You talk too much, mama
You speak excessively, mother
Mama, you talk too much
Mother, you speak excessively
Mama, mama, mama
Mother, mother, mother
You talk in the mornin'
You speak early in the day
Yak, yak all the time
You speak for a long time, constantly
You yak your mouth
You speak excessively
Your big mouth will ruin you woman
Your excessive speech will ultimately harm you, woman
Yak, yak, yak all the time
You speak for a long time, constantly
Talk about people that
Speak of individuals that
You just don't know
You have no knowledge of whatsoever
Yak, yak, yak
Speak for a long time, for a long time, for a long time
Yak, yak, yak all the time
Speak for a long time, constantly
Yak, yak, yak your big mouth
Speak excessively with your large mouth
All the time, all the time
Always, always
You talk too much woman
You, as a woman, speak excessively
Lyrics © Universal Music Publishing Group
Written by: JOHN LEE HOOKER
Lyrics Licensed & Provided by LyricFind