John Watson, Jr. was born February 3, 1935 in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as practiced by the "axe men" of Texas: T-Bone Walker and Clarence "Gatemouth" Brown.
His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music"--blues. Watson agreed, but "that was the first thing I did." A musical prodigy, Watson played with Texas bluesmen Albert Collins and Johnny Copeland.
His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Johnny with her.
In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with Jump blues style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist.
He quickly made a name for himself in the African-American juke joints of the West Coast, where he was billed as "Young John Watson" until 1954. That year, he saw the Sterling Hayden film "Johnny Guitar," and a new handle was born.
He affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His attack resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it.
His seminal blues album "Gangster of Love" was recorded in 1953 or 54, and first released on Sam Cooke's Keen Records in 1957. It was not especially heralded at the time--the title song in particular was too fast, too raw, and too witty, especially compared to the likes of the then-kingpins of blues Muddy Waters and Howlin' Wolf. Watson's ferocious "Space Guitar" of 1954 pioneered guitar feedback and reverb. (He played it without a pick.) Watson would later influence a subsequent generation of white pop musicians, especially guitarists, who struggled to master the Hendrix-like complexity of Watson's technique.
He toured and recorded with good friend Larry Williams, as well as Little Richard, Don & Dewey, The Olympics, and Johnny Otis. He also played with Sam Cooke, Herb Alpert and George Duke. But as the fortunes of blues declined and the era of soul music ascended in the 1960s, Watson in his inimicable style transformed himself from a southern blues singer with a pompadour into an urban soul singer with a pimp hat. He went all out--gold teeth, broad-brimmed hats, fly suits, designer shades, and bling made him one of the most colorful figures in the West Coast funk circle.
He modified his music accordingly. LPs like "Ain't That a Bitch" and "Real Mother For Ya" were landmark recordings in 70's funk. (Watson appeared on the cover of "Real Mother For Ya" sitting in a soapbox Rolls-Royce pushed by his mother.) "Telephone Bill" (on "Love Jones," 1980) featured complex, rapid-fire lyrics that foreshadowed rap music. His subsequent LPs employed "the computer sound," and popularized it.
In his exhaustively researched book "Dream Boogie: The Triumph of Sam Cooke" (2005), Peter Guralnick claims that Watson was an actual pimp, as well as a performer! However, Watson felt "ambivalent" about macking girls, even though it paid better than music.
The shooting death of his friend Larry Williams in 1980 and other personal setbacks led to Watson briefly withdrawing from the spotlight in the Eighties. "I got caught up with the wrong people doing the wrong things," he was quoted as saying by the New York Times. Nevertheless, a series of summer appearances in France resulted in his becoming known there as the "Godfather of Funk."
The release of his album "Bow Wow" in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy nomination, and retrospective releases of his work showered him with critical acclaim.
In a 1994 interview with David Ritz for liner notes to "The Funk Anthology," Watson was asked if his 1980 song "Telephone Bill" anticipated rap music. "Anticipated?" Watson replied. "I damn well invented it!... And I wasn't the only one. Talking rhyming lyrics to a groove is something you'd hear in the clubs everywhere from Macon to Memphis. Man, talking has always been the name of the game. When I sing, I'm talking in melody. When I play, I'm talking with my guitar. I may be talking trash, baby, but I'm talking."
In 1995, he was given a Pioneer Award from the Rhythm & Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium.
His international bookings soared. Back home, his music was sampled by Ice Cube, Eazy-E, Snoop Dogg, Dr. Dre, Jay-Z and Mary J. Blige. He sometimes would enter the studio with rappers, at their request. Snoop Dogg and Dr. Dre borrowed P-Funk's adaptation of Watson's catchphrase "Bow Wow Wow yippi-yo yippi-yay" for Snoop's hit "What's My Name."
"Johnny was always aware of what was going on around him," recalled Susan Maier Watson (later to become the musician's wife) in an interview printed in the liner notes to the Collectables album "The Very Best of Johnny 'Guitar' Watson." "He was proud that he could change with the times and not get stuck in the past."
Watson died on stage May 17, 1996, while on tour in Yokohama, Japan. His remains were brought home for internment at Forest Lawn Memorial Park Cemetery in Glendale, California.
Booty Ooty
Johnny 'Guitar' Watson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
to watch you shake your booty ooty to the ground
It's awful nice
It's Paradise
Why do you get up, while they get down
Everybody says you are cutie
when you shake your booty ooty to the ground
Everybody says you are cutie
When you shake it to the foxtrot
when you shake it to the foxtrot
When you shake it to the foxtrot
when you shake it to the foxtrot
People drive from miles around
to see you shake your booty ooty to the ground
People drive from miles around
to see you shake your booty ooty to the ground
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
Get down! Watch you by yourself
I like to see you shake your booty
shake your booty ooty to the ground
I like to see you shake your booty
shake your booty ooty to the ground
Oops! Excuse me you couldn't get it
Oops! Excuse me you couldn't get it
Oops! Excuse me you couldn't get it
Oops! Excuse me you couldn't get it
Oops! Excuse me you couldn't get it
Oops! Excuse me you couldn't get it
Oops! Excuse me you couldn't get it
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
Do the thing
The lyrics to Johnny 'Guitar' Watson's song Booty Ooty are a celebration of a woman's dancing and the effect it has on those around her. The opening lines, "Incredible, unforgettable to watch you shake your booty ooty to the ground" sets the tone for the rest of the song. The use of the word "ooty" in place of the more common word "booty" gives the song a playful, lighthearted vibe. When Watson sings "Everybody says you are cutie when you shake your booty ooty to the ground," he captures the admiration that people feel when watching a talented dancer.
The repeated line "Get down! Watch you by yourself" creates a sense of focus on the woman and her dancing, while "Do the thing" is a call to action, encouraging her to keep dancing. Overall, the song celebrates the joy of dancing and the power it has to bring people together.
Line by Line Meaning
Incredible, unforgettable to watch you shake your booty ooty to the ground
Your dancing is so amazing, it's unforgettable and incredible to watch you move your body.
It's awful nice, It's Paradise, Why do you get up, while they get down
Your dancing is so great, it creates a wonderful atmosphere and makes everybody else want to dance too.
Everybody says you are cutie when you shake your booty ooty to the ground
People really admire your dancing and think you're cute when you shake your booty ooty to the ground.
When you shake it to the foxtrot
You have some great moves, even when dancing to a specific style like the foxtrot.
People drive from miles around to see you shake your booty ooty to the ground
Your dancing is so famous and popular, people come from miles away just to see you dance.
Get down! Watch you by yourself
Your dancing is so mesmerizing, people can't help but stop and watch you, even if it's just by yourself.
I like to see you shake your booty shake your booty ooty to the ground
Personally, I enjoy watching you dance and move your body in such a unique and captivating way.
Oops! Excuse me you couldn't get it
Sometimes, people may try to imitate your moves or dance style, but they just can't quite get it like you do.
Do the thing
Whatever it is you're doing, keep doing it because it's clearly working and amazing to watch.
Lyrics © Universal Music Publishing Group
Written by: JOHNNY GUITAR WATSON
Lyrics Licensed & Provided by LyricFind
@uneedaspurlock4424
This is the shit i am still playing it today and i am 58 years old this came out when i was 16 years old love it
@pauloletroquer9231
Greatest funk music.
@mrmaxxx94
Johnny guitar Watson had cold vamps and grooves and this cut still goes hard,respect
@deeperfunkmcma1932
Mr Maxxx Thanks For Your Comment !!!
@BrownsvilleBaby_Est
Rest Up OG Johnny.Can't say Johnny without the Guitar
@jasonpfinch
Young John. Deathless genius.
@albertbrunetmunoz7141
Grandísimo... FUNKY en estado puro...!!! 🙏🙏
@carlosporras4951
La mejor disco de Málaga lo tenía y era increíble está calidad del funky music.JOY.
Excelente que tiempos
@deeperfunkmcma1932
carlos porras Thanks For Your Comment !!!
@lindjohn5141
👌💜✌️💜💥🕺💃💜🔊🔊🔊🔊 pow pow what a pleasure .. my childhood 🎶🎶🎶🎶