He was born in Widener, Arkansas (the 14th of 15 musically gifted children) first connected to the blues at age ten, when he began playing the diddley bow (a wire attached by nails to a wall with rocks for bridges and a bottle to fret the wire). His family migrated to Chicago in 1951, and Luther began soaking in the sounds of Muddy Waters, Sonny Boy Williamson, and Robert Nighthawk. He was classmates with Muddy Waters' son and occasionally stopped in the Waters' house to watch the master rehearse. It wasn't until he was 18 already in Chicago for seven years that Luther began playing blues on a real guitar and jamming with his brother Ollie's band. He began hanging outside blues clubs with the hopes of being invited to perform. He played with Howlin' Wolf's band and backed up James Cotton.
By 1957, Allison had dropped out of school and formed a band called The Rolling Stones. Unhappy with the name, they became The Four Jivers, gigging all over the West Side of Chicago. Before long, Luther was jamming with the West Side's best, including Magic Sam, Otis Rush, and Freddie King, who encouraged Allison to sing. "That," said Allison, "was my school." When King began to tour nationally in the early 1960s, Allison took over King's band as well as his weekly gigs at Walton's Corner and became one of the hottest acts on the West Side. For five years, Allison honed his craft. He moved to California for a year and cut sides with fellow Chicagoans Shakey Jake Harris and Sunnyland Slim.
His big break came in 1957 when Muddy Waters invited Allison to the stage. He worked the club circuit throughout the late 1950s and early 1960s and recorded his first single in 1965. Allison was signed to the Delmark Records label in fall 1967. He cut his first two songs as a leader on the now-classic Delmark anthology, Sweet Home Chicago, before releasing his debut album Love Me Mama. He performed a stellar, show stopping, set at the 1969 Ann Arbor Blues Festival and was invited to the next three consecutive festivals. He also toured nation-wide and, in 1972, was signed to Motown Records, one of the few blues artists to do so. By the mid 1970s he began touring Europe, enjoyed the warm reception by the crowds and moved to France in 1977. He wouldn't return to the United States for another fifteen years disgusted by the disco music that started there.
LUTHER ALLISON's manager and European agent Thomas Ruf founded the label Ruf Records in 1994. Since signing with Ruf Records, Allison launched a major comeback in association with Alligator Records. Alligator Records founder, Bruce Iglauer, convinced Allison to return to the States. With the release of Soul Fixin' Man in 1994, Allison's first domestic album in 20 years, he announced his return. "Fever and chills performances," said Guitar Player, "ferocious solos combine the wisdom of a master storyteller with the elegance of B.B. King, the elasticity of Buddy Guy, and the big sting of Albert King."
After three mammoth U.S. tours, America once again was paying attention to LUTHER ALLISON. On his American comeback tour, including his nationally broadcast and typically jaw-dropping set at the 1995 Chicago Blues Festival, LUTHER ALLISON announced to the world that he was not only back, he was unstoppable. And now he has the trophies to prove it, having received every award the blues has to offer. He swept the 1996 W.C.Handy Awards with five statues, won 10 Living Blues Awards and a 1995 Indie Award, and played in front of hundreds of thousands of screaming fans at festivals and clubs all over the world. He appeared on the cover of Living Blues, Blues Revue, Blues Access, and was the subject of major feature stories and reviews in Guitar Player, Guitar World, and Guitar For The Practicing Musician, as well as being featured on National Public Radio's Weekend All Things Considered and The Late Show With Conan O'Brien. "LUTHER ALLISON", proclaimed Blues Revue," is the New King of the Blues."
Allison followed up with Blue Streak, and the praise and accolades poured in. "A sonic roar as soulful as his gospel-shout vocals," raved the Washington Post. "Luther Allison's latest is nothing short of a masterpiece by a master," reported Blues Revue. Continued touring brought Allison before raving fans around the world, as he brought his band from the San Francisco Blues Festival to New York's Central Park Summerstage, with all stops in between. With Reckless, Allison reached even greater heights. Guitar World said, "Reckless in the best sense of the word, dancing on a razor's edge, remaining just this side of out-of-control. Hard-driving, piercing West Side Chicago single-note leads with a soul base and a rock edge."
Luther toured the US and Canada thoroughly and his fan base grew to his mind-blowing performances. Both Allison and Soul Fixin' Man won four WC Handy Awards in 1994. With the James Solberg Band backing him, non-stop touring and the release of Blue Streak (featuring song "Cherry Red Wine"), Allison continued to earn more Handy's and gain wider recognition. Allison scored a host of Living Blues Awards and was featured on the cover pages of major Blues publications. Throughout it all, Allison delivered one show-stopping performance after another. His boundless energy and fierce guitar attack combined to make him a blues superstar who reached rock fans like no bluesmen since Freddie King and Albert Collins. Allison was known for his strong showmanship, ten minute long guitar solos and crowd walking with an extra long cord attached to his Gibson Les Paul.
In the middle of his summer of '97 tour, Allison checked into a hospital for chest pains and breathing problems. Unfortunately, it was discovered that he had a tumor on his lung that was about to metastasize to his spine. In and out of a coma, LUTHER ALLISON died on August 12, 1997, five days before his 58th birthday. His album Reckless had just been released. Without a doubt, LUTHER ALLISON's death robbed music fans of one of the most exciting and popular blues performers ever. With Live In Chicago, Allison lives on, as he tears through the songs with the single-minded desire to give everything he has to his audience. While listening to the album, fans can immerse themselves in the explosive power of LUTHER ALLISON's music and experience the redemptive force of his legendary performances. Not only did he leave his legacy to never be forgotten, but his son Bernard Allison (born 1965) is an exceptional blues guitarist in his own right.
Put Your Money Where Your Mouth Is
Luther Allison Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Put Your Money Where Your Mouth Is
Put Your Money Where Your Mouth Is
Oh, you're acting like you got the power
To make a blind man see the light
I know, yes, I know, baby
That nothing's gonna be right
I know, yes, I know, girl
I'm all done lovin' you, oh, yeah
You're driving me out of my mind
Oh, no, baby
Your lips are working overtime
(Chorus)
You're acting like you got the power
To make a preacher lay the Good Book down
I know, yes, I know
Get your feet back on the ground
One thing I got to say, one thing I got to do
I know, yes, I know
I'm all done loving you, oh, yeah
You're driving me out of my mind
Oh, no, baby
Your lips are working overtime
(Chorus)
You're acting like you've got the power
Believing you can raise the dead
I know, you know I know
You got some crazy dreams in your head
One thing I got to say, one thing I got to do
I know, you know I know
I'm all done loving you, oh, yeah
You're driving me out of my mind
Oh, no, baby
Your lips are working overtime
(Chorus)
Baby, all your talk is cheap
Always playing me for a fool
I know, yes, I know
You know that just ain't cool
So go ahead pack up and leave
You know I know the score
I know, yes, I know
That you're never coming back no more
Vamp
Luther Allison's song "Put Your Money Where Your Mouth Is" is a song about a relationship that has ended due to the woman’s constant talking and making promises she can’t keep. Luther, the lead singer, begins by questioning the woman's power, implying that she acts as though she has the power to make a blind man see the light. He knows that nothing will be right with her in his life. He makes up his mind about being done with her, indicating that her lips are working overtime, indicating that the woman is all talk and no action.
In the second verse, Luther continues to point out the woman's behavior by stressing that her words have made her act as if she has the power to make a preacher lay the Good Book down. He is asking her to get her feet back on the ground, meaning that she should come back to reality. He also suggests that her dreams are quite unrealistic, suggesting that she believes she can raise dead people.
In the final verse, Luther tells the woman that her talk is cheap and that she always plays him for a fool. He asserts his independence by telling her to pack up and leave. He knows from experience that she is never coming back.
Overall, the song emphasizes the importance of actions rather than words in a relationship. The woman's constant promises and talking did not match her actions, making the singer feel drained and hopeless.
Line by Line Meaning
Put Your Money Where Your Mouth Is
Take action and back up your words with deeds
Oh, you're acting like you got the power
You're pretending to have more power than you actually have
To make a blind man see the light
You're acting like you can make impossible things happen
I know, yes, I know, baby
I understand what you're doing
That nothing's gonna be right
You're not going to achieve what you're aiming for
One thing I got to say, one thing I got to do
I have something to tell you, something I need to do
I'm all done lovin' you, oh, yeah
I'm done with this relationship
You're driving me out of my mind
You're causing me a lot of stress and frustration
Your lips are working overtime
You're talking way too much without backing it up with action
To make a preacher lay the Good Book down
You're claiming to have more power than religion and faith
Get your feet back on the ground
Be realistic and come back to reality
You're acting like you've got the power
You're pretending to have more power than you actually have
Believing you can raise the dead
You're overly ambitious and aiming for the impossible
You got some crazy dreams in your head
Your aspirations are unrealistic or far-fetched
Baby, all your talk is cheap
You talk a lot but you don't do anything
Always playing me for a fool
You're fooling me with your empty promises and lies
So go ahead pack up and leave
You can leave now because I'm done with you
You know I know the score
I understand the situation clearly
That you're never coming back no more
This is the end of our relationship and you won't come back
Contributed by Penelope H. Suggest a correction in the comments below.