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.
You Can You Can
Luther Allison Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
If you don't wanna take a listen, take a walk
I'm here with you, can't you see? (yeah)
You make me mad
Can't you hear my plea?
Love is what I want
But you give me the blues
You can, you can, hold me too (yeah)
I love you too much
That's what I want you to do
Ooh
I just don't understand
Why I can't get it on with you
Tell me what's wrong?
You know, treat me like you do
Used to do, that is
Sit down and listen to me
Can't you understand what I'm sayin'?
It's good for me to start walkin'
Hand me down my walkin' cane
You know you've got me cryin'
And I still got the blues
You can, you can, love me
You can, you can, hold me, too
Babe, understand
'Cause this is what I want you to do
Listen to me
You can, you can, give me your love
You can, you can, understand
You can, you can, turn your back
And you can, you can, do me like that
A-one thing for sure, baby
I don't wanna let you go
Oooh
You can, you can, give me that love
You can hear me talk instead
You can, you can, spend my money
And you can give it to your other man
Yeah, yeah, aah
Aah, yeah
Yeah, yeah, yeah, yeah, yeah
In Luther Allison's song "You Can You Can," the lyrics are directed towards a lover who is giving the singer the blues. The singer expresses his frustration with his lover, asking them to listen to him and understand his plea. He wants love from them, but they are not giving it to him. He begs them to hold him and love him like they used to do.
The lyrics are filled with emotion and frustration as the singer pleads with their lover to understand their needs. He asks them to listen to him and give him the love he desires. The chorus repeats several times, emphasizing the singer's desire for love and affection. The song ends by saying that the singer does not want to let go of their lover and would rather have their love and affection, even if it means they give away their money or fool around with other men.
The song's meaning differs from person to person, depending on their own interpretation. However, some common themes include the need for love and attention, the frustration of unrequited love, and the desperation to hold onto a lover despite their flaws.
Line by Line Meaning
Oh baby, let's talk
The singer wants to talk to their partner.
If you don't wanna take a listen, take a walk
If the partner isn't willing to listen, the singer suggests they leave.
I'm here with you, can't you see? (yeah)
The singer is present with their partner and wants their attention.
You make me mad
The partner's behavior is frustrating the artist.
Can't you hear my plea?
The artist is emotionally pleading with their partner to listen and understand their feelings.
Love is what I want
The singer wants love from their partner.
But you give me the blues
The behavior of the partner is making the singer sad or depressed.
You can, you can, love me
The artist believes their partner is capable of loving them.
You can, you can, hold me too (yeah)
The artist wants their partner to hold them close and show physical affection.
I love you too much
The artist loves their partner very deeply.
That's what I want you to do
The singer is expressing their desire for their partner to show them love and affection in return.
Ooh
The artist interjects with an emotional exclamation.
I just don't understand
The singer is confused by their partner's behavior.
Why I can't get it on with you
The singer is questioning why they can't connect with their partner.
Tell me what's wrong?
The singer is asking their partner what is causing the problem between them.
You know, treat me like you do
The artist wants their partner to treat them better, as they have done previously.
Used to do, that is
The artist is referring to a time when their partner treated them well in the past.
Sit down and listen to me
The singer wants their partner to listen and pay attention to what they are saying.
Can't you understand what I'm sayin'?
The singer is asking their partner to comprehend their words and feelings.
It's good for me to start walkin'
The artist feels that they may need to leave the relationship for their own well-being.
Hand me down my walkin' cane
The artist is using a metaphorical 'walking cane' - perhaps music - to help them take steps towards leaving the relationship.
You know you've got me cryin'
The partner's behavior is causing the artist to cry and be unhappy.
And I still got the blues
The situation is still making the singer feel sad.
You can, you can, love me
The artist believes their partner is capable of loving them.
You can, you can, hold me, too
The singer wants their partner to hold them close and show physical affection.
Babe, understand
The singer wants their partner to understand their feelings.
'Cause this is what I want you to do
The singer is expressing their desire for their partner to show them love and affection in return.
You can, you can, give me your love
The artist wants their partner to show them love and emotional support.
You can, you can, understand
The artist wants their partner to understand their perspective and feelings.
You can, you can, turn your back
The singer suggests that their partner may be capable of leaving them or hurting them, but they still want their love and affection.
And you can, you can, do me like that
The singer is acknowledging that their partner may hurt or mistreat them, but they still want to be loved and held.
A-one thing for sure, baby
An affirmation that the artist is certain of something.
I don't wanna let you go
The artist is admitting that despite their partner's behavior, they still want to hold onto the relationship and try to make it work.
Oooh
The artist interjects with an emotional exclamation.
You can, you can, give me that love
The singer wants their partner to demonstrate their love and affection.
You can hear me talk instead
The artist is asking their partner to listen to them and communicate with them instead of ignoring them.
You can, you can, spend my money
The singer is willing to give their partner money and resources if it means they will show them love and affection in return.
And you can give it to your other man
The singer acknowledges that their partner may be seeing other people, but they still want them to show them love and affection.
Yeah, yeah, aah
The singer interjects with an emotional exclamation.
Aah, yeah
The artist interjects with an emotional exclamation.
Yeah, yeah, yeah, yeah, yeah
The artist interjects with an emotional exclamation, perhaps indicating that they are feeling frustrated or overwhelmed.
Contributed by Caleb R. Suggest a correction in the comments below.