egroj world: John Lee Hooker • In Person

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Tuesday, May 11, 2021

John Lee Hooker • In Person



He was beloved worldwide as the king of the endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves were at once both ultra-primitive and timeless. But John Lee Hooker recorded in a great many more styles than that over a career that stretched across more than half a century.
The Hook was a Mississippi native who became the top gent on the Detroit blues circuit in the years following World War II. The seeds for his eerily mournful guitar sound were planted by his stepfather, Will Moore, while Hooker was in his teens. Hooker had been singing spirituals before that, but the blues took hold and simply wouldn't let go. Overnight visitors left their mark on the youth, too legends like Blind Lemon Jefferson, Charley Patton, and Blind Blake, who all knew Moore.
Hooker heard Memphis calling while he was still in his teens, but he couldn't gain much of a foothold there. So he relocated to Cincinnati for a seven-year stretch before making the big move to the Motor City in 1943. Jobs were plentiful, but Hooker drifted away from day gigs in favor of playing his unique free-form brand of blues. A burgeoning club scene along Hastings Street didn't hurt his chances any.
In 1948, the aspiring bluesman hooked up with entrepreneur Bernie Besman, who helped him hammer out his solo debut sides, Sally Mae and its seminal flip, Boogie Chillen. This was blues as primitive as anything then on the market; Hooker's dark, ruminative vocals were backed only by his own ringing, heavily amplified guitar and insistently pounding foot. Their efforts were quickly rewarded. Los Angeles-based Modern Records issued the sides and Boogie Chillen -- a colorful, unique travelogue of Detroit's blues scene -- made an improbable jaunt to the very peak of the R&B charts. --- by Bill Dahl, AMG
 
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Fue amado en todo el mundo como el rey del boogie interminable, una auténtica superestrella del blues cuyos ritmos zumbantes e hipnóticos de un solo acorde eran a la vez ultraprimitivos y atemporales. Pero John Lee Hooker grabó en muchos más estilos a lo largo de una carrera que se extendió durante más de medio siglo.
Hook era un nativo de Mississippi que se convirtió en el mejor caballero del circuito de blues de Detroit en los años posteriores a la Segunda Guerra Mundial. Su padrastro, Will Moore, plantó la semilla de su inquietante y lúgubre sonido de guitarra cuando Hooker era un adolescente. Hooker ya cantaba espirituales, pero el blues se apoderó de él y no lo abandonó. Los visitantes nocturnos dejaron su huella en el joven, también leyendas como Blind Lemon Jefferson, Charley Patton y Blind Blake, que conocían a Moore.
Hooker escuchó la llamada de Memphis cuando aún era un adolescente, pero no pudo afianzarse mucho allí. Así que se trasladó a Cincinnati durante siete años antes de dar el gran salto a la Ciudad del Motor en 1943. Los trabajos eran abundantes, pero Hooker se alejó de las actuaciones diurnas en favor de su estilo único de blues. El floreciente ambiente de los clubes de la calle Hastings no le perjudicó en absoluto.
En 1948, el aspirante a bluesman se asoció con el empresario Bernie Besman, que le ayudó a grabar su primer disco en solitario, Sally Mae, y su versión fundamental, Boogie Chillen. Se trataba de un blues tan primitivo como todo lo que había entonces en el mercado; las oscuras y rumiantes voces de Hooker estaban respaldadas únicamente por su propia guitarra, fuertemente amplificada, y sus insistentes pies. Sus esfuerzos se vieron rápidamente recompensados. Modern Records, con sede en Los Ángeles, editó las caras y Boogie Chillen -un colorido y único cuaderno de viaje de la escena del blues de Detroit- hizo una improbable excursión a la cima de las listas de R&B. --- por Bill Dahl, AMG 




Tracks
1. You're Gonna Need Another Favor
2. New Sally Mae
3. You're Baby Ain't Sweet Like Mine
4. She's Long She's Tall
5. You're Mellow
6. Will the Circle Be Unbroken
7. Flowers on The Hour
8. It Serves Me Right to Suffer
9. You Ain't No Big Thing
10. You Can Run Baby

Label: Chameleon Records (2) ‎– VJD-87301
Genre: Blues
Style: Electric Blues

These are Vee-Jay recordings from 4 January 1961 (6), July 1963 (1) and 1964 (rest).









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