Freitag, 16. Januar 2015

Meilensteinalben Blues - Hooker 'n' Heat









Meilensteinalben Blues

    Best Blues Albums ever




In dieser Reihe werde ich Bluesalben vorstellen, die jeder Bluesfan kennen sollte.
Heute ist ein Album dran, dass einen der besten, schwarzen Bluesmusiker mit einer der besten weissen Bluesbands vereinigt hat.

Man hätte es auch Black & White nennen können.

Den Rhytmus von Boogie Chillen No. 2 hat betimmt jeder Bluesfan schon einmal gehört.

Es ist das letzte Studioalbum, an dem Al Wilson mitgewirkt hat. Auf dem Cover ist Al nur als Foto zu sehen, da er aus bekannten Gründen nicht mehr zur Verfügung stand.

Den Hörer erwarten spannende Duelle zwischen John Lee´s Gitarrenriffs  und den Harpklängen von Al.


In this series, I will introduce Blues albums that everyone bluesfan should know .


Today an album's turn that one of the best black bluesmusician has united with one of the best white blues bands.
You could have also called Black & White.


The rhythm of Boogie Chillen No. 2 has already heard betimmt every Bluesfan.
It is the last studio album, which Al Wilson was involved. On the cover of Al can be seen just as a photo, as it was no longer available for known reasons.


The listener can expect exciting duels between John Lee's guitar riffs and the Harpsound of Al.

 

Boogie Chillen - John Lee Hooker blues harmonica 

 

Well, hey hey
When I first came to town, people
I was walking down Hastings Street
I heard everybody talking about
Henry's Swing Club
I dropped in there that night
I did the boogie
I did the boogie, boogie
I did the boogie
Yeah, hey hey
One night I was laying down
Well I heard,
My mama and papa talking
About the boogie.
Do you wanna boogie
Do you wanna boogie
Do the boogie now
Hey hey hey hey
I'm gonna tell you something
One night when I was laying down
I heard, I heard, I heard..
Do the boogie...
Feel good, feel good, feel good, feel good...
Feel.. feel.. feel.. feel.. feel..
Thank you...

http://www.golyr.de/john-lee-hooker/songtext-boogie-chillin-382951.html 


Hooker 'n' Heat Doppel-CD

John Lee Hooker Canned Heat Format: Audio CD







Hooker 'n Heat is a double album released by blues legend John Lee Hooker and blues-rock band Canned Heat in early 1971. It was the last studio album to feature harmonica player, guitarist and songwriter Alan Wilson, who died in September 1970 from a drug overdose. The photo on the album cover was taken after Wilson's death, but his picture can be seen in a frame on the wall behind John Lee Hooker. Guitarist Henry Vestine was also missing from the photo session. The person standing in front of the window, filling in for Henry, is the band's manager, Skip Taylor.[citation needed] Careful examination of the photo reveals that Henry's face was later added by the art department.
It was the first of Hooker's albums to chart, reaching number 78 in the Billboard charts.
Track listing
All songs written by John Lee Hooker except as noted.

    "Messin' with the Hook" – 3:23
    "The Feelin' Is Gone" – 4:32
    "Send Me Your Pillow" – 4:48
    "Sittin' Here Thinkin'" – 4:07
    "Meet Me in the Bottom" – 3:34
    "Alimonia Blues" – 4:31
    "Drifter" – 4:57
    "You Talk Too Much" – 3:16
    "Burning Hell" (John Lee Hooker, Bernard Besman) – 5:28
    "Bottle Up and Go" – 2:27
    "The World Today" – 7:47
    "I Got My Eyes on You" – 4:26
    "Whiskey and Wimmen'" – 4:37
    "Just You and Me" – 7:42
    "Let's Make It" – 4:06
    "Peavine" – 5:07
    "Boogie Chillen No. 2" (John Lee Hooker, Bernard Besman) – 11:33


HOOKER n' HEAT : LIVE 1974 : HEY BABE - BOOGIE CHILLEN' . 


Canned Heat

Canned Heat ist eine US-amerikanische Bluesrockband, deren Name von Tommy Johnsons klassischem „Canned Heat Blues“ aus dem Jahre 1928 stammt.
Bandname
Der Name (englisch canned „eingemacht“, heat „Hitze“) ist eine Anspielung auf gelierten Brennspiritus. Das Produkt wird unter dem Markennamen Sterno Canned Heat als Brennpaste in Blechdosen ausgeliefert, die gleichermaßen als Verpackung und als Rechaud dienen. Außerdem wird das Gel häufig mit Wasser verdünnt als billiger Schnapsersatz missbraucht. Bei einem Interview in einer amerikanischen Fernsehsendung sagte Bob Hite 1969, dass der Name eine Anspielung auf den Canned Heat Blues von Tommy Johnson aus dem Jahre 1928 ist.
Bandgeschichte
Die Gruppe wurde 1965 in Los Angeles gegründet (nach anderen Angaben 1966). Gründungsmitglieder der Band waren Bob „The Bear“ Hite (Gesang) und Alan „Blind Owl“ Wilson (Gitarre, Gesang, Mundharmonika), Henry „Sunflower“ Vestine (Gitarre, ehemals bei Frank Zappas The Mothers of Invention), Larry „The Mole“ Taylor (E-Bass) und Frank Cook (Schlagzeug). Zuvor spielten Stuart Brotman, Mike Perlowin, John Fahey, Mark Andes (später bei Spirit und Jo Jo Gunne) und Keith Sawyer im Laufe des ersten Jahres kurzfristig zusammen mit Wilson und Hite in der Band.
Ihr erstes Album erschien 1967 nach ihrem Auftritt beim Monterey Pop Festival. Das zweite Album Boogie with Canned Heat von 1968 war erfolgreicher und machte Canned Heat zu einer der angesagtesten Bands der Hippie- und Bluesszene an der Westküste der Vereinigten Staaten. Der lange Fried Hockey Boogie (11′04) war von dem berühmten Bluessänger und -gitarristen John Lee Hooker inspiriert. Auf dem Album war die am 17. und 18. April 1967 in Chicago aufgenommene Hitsingle On the Road Again enthalten, die es bis auf Platz 16 der amerikanischen Charts schaffte.[1] Außerdem ersetzte ab diesem Album Adolfo „Fito“ de la Parra, der bereits mit Etta James gespielt hatte, den Schlagzeuger Frank Cook. Im selben Jahr setzte sich die Band für Albert Collins ein, damit dieser einen Plattenvertrag bei Imperial Records erhielt.
1969 folgte das Doppelalbum Living the Blues, das ihnen mit Going Up the Country den größten Hit bescherte,[1] in dem Tank Harrigan (Ray Charles Band) die Flöte spielte. Außerdem trat die Band auch beim Woodstock-Festival auf. Dem dortigen Auftritt war ein Streit zwischen Henry „Sunflower“ Vestine und Larry „The Mole“ Taylor zwei Tage zuvor auf der Bühne des Fillmore West vorausgegangen, als dessen Folge Vestine die Band verlassen hatte. Diese sah sich genötigt, umgehend Harvey Mandel zu engagieren, um weitertouren zu können. Da sie nicht einmal in der Lage gewesen waren, zusammen zu proben, weigerte sich Adolfo „Fito“ de la Parra anfangs, bei Woodstock aufzutreten, und verließ kurzfristig sogar die Band. Allerdings gelang es dem Manager Skip Taylor mithilfe eines Generalschlüssels Zugang zu seinem Zimmer zu erhalten und ihn zusammen mit dem Rest der Band in den Helikopter zu befördern und zum Spielen zu bewegen. Die Band traf gleichzeitig mit den Roadies ein, denen es gelungen war, sich im LKW mit der Ausrüstung durch das Chaos zu bewegen, wobei sie für den Weg zwischen den Catskills und New York über 13 Stunden benötigten (normalerweise 2–3 Stunden). Die Band spielte während des Sonnenuntergangs und wurde vom Publikum gefeiert wie kaum eine andere während des Festivals. Ihr Song Going Up the Country wurde später zur inoffiziellen Hymne des Festivals.
Ebenfalls 1969 nahm Canned Heat das Album Hallelujah auf, das komplexere Blues-Strukturen enthält, zum Beispiel 13-taktige Songteile. Für Fito de la Parra ist es bis heute „die interessanteste Platte“ der Band.
Als Nächstes erschien 1970 die LP Future Blues, die den ersten Umweltschutz-Song der Band So Sad (The World’s in a Tangle) enthält, in dem der Smog über Los Angeles angeprangert wird. Dieses Album ist auch das erste Studio-Album mit Harvey Mandel anstelle von Henry Vestine als Lead-Gitarristen.
Canned Heat hatte 1970 mit der Single-Auskopplung aus dieser LP Let’s Work Together, einer Coverversion von Wilbert Harrisons Let’s Stick Together aus dem Jahre 1962, einen letzten Top-30-Erfolg in den Vereinigten Staaten.[1] In den Top Twenty in England erreichte der Song sogar die Nummer zwei, aber der Höhenflug war vorbei. Im Mai 1970 nahm die Band allerdings zusammen mit John Lee Hooker das sehr beachtete Doppelalbum Hooker ’n’ Heat auf (u.a.: The World Today), das dessen erstes Album überhaupt wurde, das es im Februar 1971 bis in die Charts schaffte. Auf diesem Album spielt Alan Wilson eine Weltklasse-Mundharmonika – „the best harp-player ever“ (John Lee Hooker). Der an Depressionen leidende Alan Wilson starb am 3. September 1970 an einer Überdosis Tabletten. Wilsons Tod hinterließ eine Lücke, die die Band nicht mehr schließen konnte. Zudem hatten Larry Taylor und Harvey Mandel einige Monate zuvor die Band verlassen, um sich John Mayalls „USA-Union“-Band anzuschließen. So nahmen sie 1971 zusammen mit Wilsons Nachfolger Joel Scott Hill das Album Historical Figures and Ancient Heads auf, an dem auch Little Richard mitwirkte. Dieses Album war nur noch mäßig erfolgreich und ihr letzter kleiner Hit. Canned Heat tourte zwar in den folgenden Jahren mit großem Erfolg, war aber nicht mehr in der Lage, weitere Hits einzuspielen. In den folgenden Jahren wechselte die Besetzung oft, unter anderem spielte Bob Hites Bruder Richard Hite Bass. In seiner Biografie beschreibt de la Parra diese Phase als den „Langen Abstieg“. Die Band wechselte mehrfach die Plattenfirmen, auch machte ihr die Disco-Ära zu schaffen, so dass die Band nach Verlust des Plattenvertrages 1973 pleiteging. Zu dieser Zeit hatten sie gerade ein Album mit Memphis Slim aufgenommen und arbeiteten zusammen mit Clarence Gatemouth Brown, mit dem sie auch 1973 beim Montreux Jazz Festival auftraten.
Am 5. April 1981 starb als nächstes Bandmitglied Bob Hite durch Herzversagen nach Jahren exzessiven Drogenmissbrauchs. Er hatte bis dahin jedes Konzert mit den Worten „And don’t forget to boogie!“ beendet. Seitdem leitete Adolfo „Fito“ de la Parra die Band. Er sagt von sich: „I’m a survivor in charge“. Die Fans in Australien und auf der ganzen Welt hielten der Band weiter die Treue. Walter Trout wurde neuer Leadgitarrist. Mit ihm wurde 1983 das Album Boogie Assault [Live in Australia] eingespielt. 1988 erschien die hörenswerte, eher traditionell orientierte LP Reheated mit Junior Watson an der Gitarre und dem zurückgekehrten Larry Taylor. 1989 hatte die Band einen Gastauftritt auf Hookers Album The Healer, das sich zu einem großen Erfolg entwickelte. Am 20. Oktober 1997 starb mit Henry Vestine das dritte Gründungsmitglied „on the road“ nach einem Konzert am Pariser Flughafen. Auch er hatte über Jahrzehnte zu viele Drogen genommen.
Von 1999 bis 2005 überraschte Fito mit einer neuen Besetzung: mit ihm selbst am Schlagzeug, Greg Kage (E-Bass und Gesang), Dallas Hodge (Leadgitarre und Gesang), John Paulus (Rhythmus- und Leadgitarre sowie Gesang) und Stanley Behrens (Mundharmonika, Flöte, Saxophon und Gesang); für viele die überzeugendste Canned-Heat-Besetzung seit vielen Jahren. 2003 erschien ihr Album Friends in the Can, bevor 2005 Don Preston den Gitarristen John Paulus ersetzte.
Der Bluesmusiker John Mayall beschreibt in seinem Stück The Bear (1968 erschienen auf der LP Blues from Laurel Canyon) sein zeitweiliges Zusammenleben mit den Musikern von Canned Heat. Das Stück, das mit einem markanten Intro beginnt, an die Canned-Heat-Boogies erinnernd und von Mick Taylor gespielt wird, ist gleichzeitig eine Hommage an Bob Hite.
Ab 2006 geht die Band in der Zusammensetzung Barry Levenson, Greg Kage, Robert Lucas und Fito de la Parra auf Tournee. Diese Besetzung wird im Juni 2007 von den noch lebenden Mitgliedern aus der Woodstock-Zeit, Larry Taylor und Harvey Mandel, bei zwei Festivals in Österreich unterstützt.
Am 23. November 2008 starb der Sänger und Slide-Gitarrist Robert Lucas an einer Überdosis Drogen, nachdem er die Band kurz vorher verlassen hatte, um seine Solokarriere fortzusetzen.
Im Sommer 2010 tourte die "Woodstock Reunited Lineup" von Canned Heat mit Fito de la Parra, Larry "The Mole" Taylor und Harvey "The Snake" Mandel, ergänzt durch Dale Spalding (Gitarre, Mundharmonika, Gesang), in Deutschland. In dieser Besetzung hatte die Band auch 2011 wieder einige Auftritte in Deutschland, wobei John Paulus zuletzt Larry Taylor ersetzte.


Canned Heat - Hooker N´Heat LIVE 
This album is dedicated to BOB "THE BEAR" HITE, whose idea it was to record an evening with Canned Heat´s close friends; JOHN LEE HOOKER, and LESTER, GEORGE, WILLIE, and JOE CHAMBERS. The evening turned into a real party, and the audience didn´t leave´til 3:30 AM. Bob´s parting salutation summed it all up from then and for now, "don´t forget to Boogie."

01 0:00 Hell Hound
02 5:08 Strut My Stuff
03 7:51 Open Up Your Back Door
04 11:46 House Of Blue Light
05 15:14 It Hurts Me Too
06 21:43 Wrapped Up
07 26:45 Medley - Let´s Work Together - Going Up The Country
08 32:01 Tease Me Baby
09 37:04 It Serves Me Right To Suffer
10 41:55 Nobody Else But You

Enjoy Music and Don´t Forget To Boogie!






Canned Heat is an American blues/boogie rock band that formed in Los Angeles, California, in 1965.
The group has been noted for its own interpretations of blues material as well as for efforts to promote the interest in this type of music and its original artists. It was launched by two blues enthusiasts, Alan Wilson and Bob Hite, who took the name from Tommy Johnson's 1928 "Canned Heat Blues", a song about an alcoholic who had desperately turned to drinking Sterno, generically called "canned heat". After appearances at the Monterey and Woodstock festivals at the end of the 1960s, the band acquired worldwide fame with a lineup consisting of Bob Hite, vocals, Alan Wilson, guitar, harmonica and vocals, Henry Vestine (or Harvey Mandel) on lead guitar, Larry Taylor on bass, and Adolfo de la Parra on drums.
The music and attitude of Canned Heat afforded them a large following and established the band as one of the popular acts of the hippie era. Canned Heat appeared at most major musical events at the end of the 1960s and they were able to deliver on stage electrifying[citation needed] performances of blues standards and their own material and occasionally to indulge into lengthier 'psychedelic' solos. Two of their songs – "Going Up the Country" and "On the Road Again" – became international hits. "Going Up the Country" was a remake of the Henry Thomas song "Bull Doze Blues" recorded in Louisville, Kentucky, in 1927. "On the Road Again" was a cover version/re-working of the 1953 Floyd Jones song of the same name, which is reportedly based on the Tommy Johnson song "Big Road Blues" recorded in 1928.
Since the early 1970s, numerous personnel changes have occurred and today, in the fifth decade of the band's existence the band includes de la Parra and Larry Taylor from the "classic" 1960s lineup as well as Mandel. For much of the 1990s and 2000s, de la Parra was the only member from the band's 1960s lineup. He has written a book about the band's career.[1] Larry Taylor, whose presence in the band has not been steady, is the other surviving member from the earliest lineups. Mandel, Walter Trout and Junior Watson are among the guitarists who gained fame for playing in later editions of the band. British-blues pioneer John Mayall has frequently found musicians for his band among former Canned Heat members.
History
Origins and early lineups
Canned Heat was started within the community of blues collectors. Bob Hite had been trading blues records since his early teens and his house in Topanga Canyon was a meeting place for people interested in music. In 1965 some blues devotees there decided to form a jug band and started rehearsals. The initial configuration comprised Bob Hite as vocalist, Alan Wilson on bottleneck guitar, Mike Perlowin on lead guitar, Stu Brotman on bass and Keith Sawyer on drums. Perlowin and Sawyer dropped out within a few days, so guitarist Kenny Edwards (a friend of Wilson) stepped in to replace Perlowin, and Ron Holmes agreed to sit in on drums until they could find a permanent drummer.
Another of Bob's friends, Vestine (who had been expelled from Frank Zappa's Mothers of Invention for excessive drug use[2]), asked if he could join the band and was accepted while keeping Edwards on temporarily. Soon Edwards departed (he went on to form the Stone Poneys with Linda Ronstadt) and at the same time Frank Cook came in to replace Holmes as their permanent drummer. Cook already had substantial professional experience, having performed with such jazz luminaries as bassist Charlie Haden, trumpeter Chet Baker, and pianist Elmo Hope and had also collaborated with black soul/pop artists such as Shirley Ellis and Dobie Gray.
Producer Johnny Otis recorded the band's first (unreleased) album in 1966 with the ensemble of Hite, Wilson, Cook, Vestine, and Brotman; but the record was not actually released until 1970 when it appeared as Vintage Heat, released by Janus Records. Otis ran the board for a dozen tracks, including two versions of "Rollin' and Tumblin'" (with and without harmonica), "Spoonful" by Willie Dixon, and "Louise" by John Lee Hooker all from his studio off of Vine Street in Los Angeles. Over a summer hiatus in 1966 Stuart Brotman effectively left Canned Heat after he had signed a contract for a long engagement in Fresno with an Armenian belly-dance revue. Canned Heat had contacted Brotman, touting a recording contract which had to be signed the next day, but Brotman was unable to make the signing on short notice. Brotman would go on to join the world-music band Kaleidoscope with David Lindley, replacing Chris Darrow. Replacing Brotman in Canned Heat was Mark Andes, who lasted only a couple of months before he returned to his former colleagues in the Red Roosters, who adopted the new name Spirits Rebellious, later shortened to Spirit.
After joining up with managers Skip Taylor and John Hartmann, Canned Heat finally found a permanent bassist in Larry Taylor, who joined in March 1967. He was a former member of The Moondogs and the brother of Ventures' drummer, Mel Taylor, and already had experience backing Jerry Lee Lewis and Chuck Berry in concert, and recording studio sessions for The Monkees.[3]
In this format (Hite, Wilson, Vestine, Taylor, Cook) the band started recording in April 1967 for Liberty Records. "Rollin' and Tumblin'" backed with "Bullfrog Blues" became Canned Heat's first single. The first official album, Canned Heat, was released three months later in July 1967. All tracks were re-workings of older blues songs. The Los Angeles Free Press reported: "This group has it! They should do very well, both live and with their recordings." Canned Heat fared reasonably well commercially, reaching #76 on the Billboard chart.
Rise to fame and formation of the classic lineup
The first big live appearance of Canned Heat was at the Monterey Pop Festival on June 17, 1967. A picture of the band taken at the performance was featured on the cover of Down Beat Magazine where an article complimented their playing: "Technically, Vestine and Wilson are quite possibly the best two-guitar team in the world and Wilson has certainly become our finest white blues harmonica man. Together with powerhouse vocalist Bob Hite, they performed the country and Chicago blues idiom of the 1950s so skillfully and naturally that the question of which race the music belongs to becomes totally irrelevant."[4] D.A. Pennebaker's documentary captured their rendition of "Rollin and Tumblin" and two other songs from the set, "Bullfrog Blues" and "Dust My Broom", found place later in a boxed CD set in 1992. Canned Heat is also included on an album called Early LA.
Canned Heat also began to garner their notoriety as "the bad boys of rock" for being jailed in Denver, Colorado after a Denver Police informant provided enough evidence for their arrest for drugs (an incident recalled in their song 'My Crime'). Band manager Skip Taylor was forced to obtain the $10,000 bail by selling off Canned Heat's publishing rights to Liberty Records President Al Bennett.[5]
After the Denver incident, Frank Cook was replaced with de la Parra, who had been playing the drums in Bluesberry Jam (the band which evolved into Pacific Gas & Electric). As an official member of Canned Heat, de la Parra played his first gig on December 1, 1967, sharing top billing with the Doors at the Long Beach Auditorium.[6] This began what de la Parra refers to as the classic and perhaps best known Canned Heat line-up, who together recorded some of the band's most famous and well-regarded songs. During this "classic" period, Skip Taylor and John Hartmann introduced the use of band member nicknames:

Bob "The Bear" Hite
Alan "Blind Owl" Wilson
Henry "Sunflower" Vestine (and later Harvey "The Snake" Mandel)
Larry "The Mole" Taylor
Adolfo "Fito" de la Parra

Their second released album, Boogie with Canned Heat, included "On the Road Again", an updated version of a 1950s composition by Floyd Jones. "On the Road Again" became the band's break-out song and was a worldwide success, becoming a number one hit in most markets and finally put a blues song on the top charts.[7] The album also included a twelve-minute version of "Fried Hockey Boogie", (credited to Larry Taylor, but rather obviously derived from John Lee Hooker's "Boogie Chillen" riff) allowed each member to stretch out on his instrument while establishing them with hippie ballroom audiences across America as the "kings of the boogie". Hite's "Amphetamine Annie" (a tune inspired by the drug abuse of an acquaintance), became one of their most enduring songs and one of the first "anti-drug" songs of the decade. Although not featured on the album's artwork, this was the first Canned Heat Album to have featured drummer de la Parra.
With this success Skip, John and new associate Gary Essert leased a Hollywood club they named the Kaleidoscope on Sunset Boulevard east of Vine in which Canned Heat essentially became the house band; hosting others such as Jefferson Airplane, Grateful Dead, Buffalo Springfield and Sly and The Family Stone.[8] Also in 1968, after playing before 80,000 at the first annual Newport Pop Festival in September, Canned Heat left for their first European tour. It entailed a month of concert performances and media engagements that included television appearances on the British show Top of the Pops. They also appeared on the German program Beat Club, where they lip-synched "On the Road Again" as it rose to number one in both countries and practically in all of Europe.[9]
"Going Up The Country" and Woodstock
In October the band released their third album, Living the Blues, which included their best known song, "Going Up the Country". Wilson's incarnation of Henry Thomas's "Bull-Doze Blues" was almost a note-for-note copy of the original, down to Thomas's instrumental break on the quills which Jim Horn duplicated on flute. Wilson rewrote the lyrics with a simple message that caught the "back-to-nature" attitude of the late 1960s. The song went to #1 in 25 countries around the world (#11 on the U.S national chart) and would go on to become the unofficial theme song of the Woodstock Festival as captured in Michael Wadleigh's 1970 documentary. The album also included a 19-minute experimental track "Parthenogenesis", which was a nine-part sound collage of blues, ragas, jaw-harp sounds, guitar distortion and other electronic effects; all pulled together under the direction of manager/producer, Skip Taylor. Longer still is "Refried Boogie", clocking in at over 40 minutes, recorded live at the Kaleidoscope.
Also recorded live at the Kaleidoscope around this time was the album which would find later 1971 release with the deceptive title, Live At Topanga Corral (later renamed Live at the Kaleidoscope), under Wand Records because Liberty Records did not want to release a live album at the time and manager Skip Taylor did not want a lawsuit.[10] The band would end 1968 in a big way at a New Year's show at the Shrine Auditorium, in Los Angeles, with Bob Hite riding a painted purple dayglo elephant to the stage.[11]
In July 1969, just prior to Woodstock, Hallelujah, their fourth album was released. The Melody Maker wrote: "While less ambitious than some of their work, this is nonetheless an excellent blues-based album and they remain the most convincing of the white electric blues groups." The album contained mainly original compositions with lyrics relating to the band such as Wilson's "Time Was" and a few re-worked covers like "Sic 'em Pigs" (Bukka White's "Sic 'em Dogs") and the original "Canned Heat" by Tommy Johnson.
Within days of the album's release, Vestine left the group after an on-stage blow up at the Fillmore West between himself and Larry Taylor. The next night after Mike Bloomfield and Mandel jammed with Canned Heat, both were offered Vestine's spot in the band's line-up and Mandel accepted.[12] The new lineup played two dates at the Fillmore before appearing at Woodstock in mid-August.
Arriving via helicopter at Woodstock, Canned Heat played their most famous set on the second day of the festival at sunset. The set included "Going Up the Country" which became the title track in the documentary, even though the band's performance was not shown. The song was included in the first (triple) Woodstock album; while the second album, Woodstock 2, contained "Woodstock Boogie". The expanded 25th Anniversary Collection added "Leaving This Town" to the band's collection of Woodstock performances and "A Change Is Gonna Come" was included on the director's cut of the documentary film; leaving only "Let's Work Together" to be released.[13]
Before their European tour in early 1970, the band recorded Future Blues, an album containing five original compositions and three covers. A Wilbert Harrison song, "Let's Work Together", was the single chosen for release in Europe to coincide with the tour. At the band's insistence the U.S. release was delayed in order to offer the author's version a chance in the market first.[14] Canned Heat had a big hit with "Let's Work Together" and was the band's only top ten hit to feature the vocals of Bob "The Bear" Hite. The album featured piano by Dr. John and an atypical jump blues style also. Some controversy was sparked by the moon landing/Iwo Jima album cover and the upside down American flag. The upside-down flag was Wilson's idea and was a response to his love of nature, growing environmentalism and concern that humankind would soon be polluting the moon as well as the Earth (as reflected in his song "Poor Moon").[15]
Material from their 1970 European tour provided the tracks for, Canned Heat '70 Concert Live In Europe, later retitled Live In Europe. It was a live album that combined tracks from different shows throughout the tour, but was put together in such a way as to resemble one continuous concert for the listener. Although the album garnered some critical acclaim and did well in the UK (peaking at #15), it had only limited commercial success in the U.S.; Returning from Europe in May 1970, an exhausted Larry Taylor left the band to join John Mayall (who had relocated to Laurel Canyon) and was followed by Mandel.
Hooker 'n Heat and the death of Wilson
With Taylor and Mandel gone, Vestine returned on guitar, accompanied by bassist Antonio de la Barreda who had played with de la Parra for five years in Mexico City and was previously a member of the groups Jerome and Sam & The Goodtimers.
This lineup went into the studio to record with John Lee Hooker the tracks that would yield the double album, Hooker 'n Heat. The band had originally met Hooker at the airport in Portland, Oregon, and discovered they were fans of each other's work. Hooker and Canned Heat became good friends and Hooker had stated that Wilson was "the greatest harmonica player ever".[16] The planned format for the sessions called for Hooker to perform a few songs by himself, followed by some duets with Wilson playing piano or guitar. The rest of the album featured Hooker with some backing by the group (sans Bob Hite, who co-produced the album along with Skip Taylor). The album was finished after Wilson's passing and became the first album in Hooker's career to make the charts, topping out at #73 in February 1971. Hooker 'n Heat would unite again in 1978 and record a live album at the Fox Venice Theatre in Los Angeles, released in 1981 as, Hooker 'n Heat, Live at the Fox Venice Theatre, under Rhino Records. Also in 1989, Canned Heat (and many others) guested on John Lee Hooker's album The Healer.
Shortly after the original Hooker 'n Heat sessions, the eccentric Alan "Blind Owl" Wilson, who had always suffered from depression, was said by some to have attempted suicide by driving his van off the road near Bob Hite's home in Topanga Canyon. Unlike other members of the band, Wilson did not have much success with women and was deeply upset and frustrated by this. His depression also worsened over time; environmental themes were often reflected in his lyrics.[17] On September 3, 1970, just prior to leaving for a festival in Berlin, the band was shattered when they learned of Wilson's death by barbiturate overdose; found on a hillside behind Bob Hite's Topanga home. Believed by de la Parra and other members of the band to have been a suicide, Wilson died at the age of 27, just weeks before the deaths of Janis Joplin and Jimi Hendrix.[18]
Historical Figures, New Age and Human Condition line-ups
Joel Scott Hill, who had previously played with The Strangers and later Moby Grape was recruited to fill the void left by Wilson's death. The band still had a touring contract for September, as well as upcoming studio dates. That fall they toured Australia and Europe; including a show played in Baarn, Holland, for the VPRO television program Piknik and the following summer they appeared at the Turku Festival in Finland. These performances were recorded, but were not released until much later with the albums, Live at Turku Rock Festival in 1995, and Under the Dutch Skies 1970–74 in 2007 (which encompassed three separate tours). At the end of 1971 a new studio album, Historical Figures and Ancient Heads, was released. The album included Bob Hite's vocal duet with Little Richard on the Skip Taylor written track, "Rockin' with the King" featuring the guitar playing of both Vestine and Joel Scott Hill.
This line-up of Hite, Vestine, Scott-Hill, de la Barreda and de la Parra did not last, as the band was in disarray; Scott-Hill and de la Barreda's attitudes were not fitting in with the rest of the band, and drummer de la Parra decided to call it quits. He was talked out of it by Bob Hite, and it was Scott-Hill and de la Barreda who left the band instead.[19]
New additions to the group were James Shane on rhythm guitar and vocals, Ed Beyer on keyboards, and Bob Hite's brother Richard Hite on bass. This "New Age" line-up recorded what would become the last album for Liberty/United Artists Records, The New Age, released in 1973. This album featured the popular biker themed anthem written by James Shane, entitled "The Harley-Davidson Blues". The era of the late 1960s was changing; but nonetheless the band embarked on another European Tour, in which they recorded a session with Memphis Slim in Paris, France for the album, Memphis Heat. They also recorded with Clarence "Gatemouth" Brown, while still in Paris, for the album, Gates On The Heat (both were released by Blue Star Records).[20] Footage from this era can be seen on the DVD release of Canned Heat Live at Montreux released in 2004.
Met with hard times, de la Parra writes that the band resorted to importing drugs from Mexico to make ends meet between shows.[21] Over US $30,000 in debt, manager Skip Taylor advised the band to sign away their future royalties to their previous Liberty/United Artists material and jump to Atlantic Records. After a bad introduction to Atlantic Records, which included a brawl between Hite and Vestine over a vending machine, the band released the album One More River To Cross in 1973. Produced by Roger Hawkins and Barry Beckett this album had a different sound and featured the Muscle Shoal Horns.[22]
On a subsequent promotional tour of Europe, this new "Horn Band" sound included the talents of Clifford Solomon and Jock Ellis. Absent from Canned Heat at this time, after growing ever more distant, was longtime manager Skip Taylor, who had left after the band joined Atlantic.[23] Atlantic producer Tom Dowd tried to get one more album out of Canned Heat, but drugs and heavy drinking had taken their toll. Even though an album was recorded in 1974 (featuring some collaboration from former member Mandel); Atlantic had ended their relationship with Canned Heat before it could be released and The Ties That Bind, did not see the light of day until decades later in 1997.[24]
Shortly thereafter, new manager Howard Wolf, set up the struggling band with a gig at California's Mammoth Ski Resort. Bob Hite, in a foul rage, went off on the crowd; much to the disapproval of Vestine, James Shane and Ed Beyer, who quit the band as a result.[25]
Taking the place of those who departed were pianist Gene Taylor and guitarist Chris Morgan, who both joined in late 1974. Taylor, departed in 1976 in response to an argument during a tour of Germany, and after a brief fill-in by Stan Webb (of Chicken Shack), Mark Skyer came in as the new guitar player. In the meantime the band had worked out a deal with Takoma Records and this "Human Condition/Takoma" line-up recorded the 1977 album, Human Condition. Despite the appearance of the Chambers Brothers on the album, it was met with very little success; largely due to the growing popularity of Disco music in the late 70s.[24] Before long, more arguments ensued and Mark Skyer, Chris Morgan and Richard Hite all quit the band in 1977. The Bear promptly hired a new bass player named Richard Exley after befriending him on tour and watching his performance with the band "Montana". Becoming fast friends with Hite, Exley toured the remainder of the year with the band and collaborated with Bob on many of the arrangements during their 1976 Texas Bicentennial Comeback Tour that same summer. Richard then quit the band after an argument over Hite's excessive drinking and drug use on stage. Frustrated and fed-up, Exley joined The Texas Heartbreakers at the end of that same year, but still returned periodically to fill in as a favor to Hite while the band struggled to find permanent members amidst heavy drinking and drug use. Exley remarked about his time with the band "No one ever remembers the bass player...". This effectively reduced the band's members to just The Bear and de la Parra.[26]
Burger Brothers revival and the death of Bob Hite
The popularity of the blues genre rose in the late 1970s and early 1980s with the release of the musical-comedy film The Blues Brothers (1980), starring Dan Aykroyd and John Belushi. During this time, de la Parra had bought into the partnership of an East Hollywood recording studio at which he was again working with former bandmate Larry "The Mole" Taylor. Taylor had been associating with virtuoso guitar player Mike "Hollywood Fats" Mann and virtuoso piano player Ronnie Barron and before long Taylor, Barron and Hollywood Fats were in the band. This version referred to by Hite and Mann as the "Burger Brothers" lineup, was soon joined by blind piano player Jay Spell, as Ronnie Barron walked out on the band after a blow-up between himself and Taylor.[27]
The Burger Brothers played the Tenth Anniversary of Woodstock at Parr Meadows in 1979. A recording of the performance eventually surfaced through King Biscuit Flower Hour's Barry Ehrmann as, Canned Heat In Concert, in 1995 (de la Parra considers this to be Canned Heat's best recorded live album).[28] Another recording made around this time was for Cream Records, who desired a more R&B-style sound than what Canned Heat was currently offering. This upset Hollywood Fats and Mike Halby was brought in to finish the project; which would not find commercial release until 1981 when former band member Tony de la Barreda put it out under RCA as a tribute album called, In Memory Of Bob "The Bear" Hite 1943-1981—"Don't Forget To Boogie". After a falling out with de la Parra and Hite, Taylor and Mann were increasingly unhappy with the musical direction of the band and eventually left to focus more attention on their Hollywood Fats Band. Nevertheless, Jay Spell was still on board and brought in bass player Jon Lamb; Mike Halby was now a full-time member and long-time guitarist Vestine once again made his return to the band, with The Bear and de la Parra as its leaders.[29]
No longer managed by Howard Wolf, Eddie Haddad set the band up touring military bases across the U.S., Europe and Japan non-stop. Returning with little pay after the hellacious tour, Jay Spell quit the band. Jon Lamb stayed on for one more tour in the south and just before Christmas 1980 (and lacking the outlaw roots of the others), he too quit the band; but by then even The Bear was starting to lose it. He had attempted to give it another try by hiring a large enthusiastic biker with the moniker "The Push" as their manager; hoping that the band's popularity with the biker community would give them renewed energy.[30] With new bass player Ernie Rodriguez joining the ranks, Canned Heat recorded the 1981 album, Kings of the Boogie, the last album to feature Hite on a few of the tracks.
On April 5, 1981, having collapsed from a heroin overdose during a show at the Palomino in Los Angeles, Bob Hite was later found dead in de la Parra's Mar Vista home at the age of 38.[31]
Later history and the death of Vestine
The death of frontman Bob "The Bear" Hite was a devastating blow that most thought would end the career of Canned Heat; however de la Parra kept the band alive and would lead it back into prosperity over the next few decades. An Australian tour had been set up before The Bear's death and harmonica player Rick Kellog had joined to finish off the Kings of the Boogie album. This incarnation of Canned Heat without Bob Hite was nicknamed the "Mouth Band" by Vestine and was a huge hit in Australia, especially with the biker crowd.[32] Under the management of "The Push", the band toured the States playing biker bars and began work on a video known as "The Boogie Assault", starring Canned Heat and various members of the San Francisco chapter of the Hells Angels.
As production for "The Push's" video dragged on, a drunken Vestine got into a brawl with Ernie Rodriguez and was once again out of the band; this time replaced by guitarist Trout.[33] After a tour with John Mayall, as the production for "The Boogie Assault" continued, de la Parra was forced to fire "The Push" as the band's manager; but did eventually finish the video and a live Album of the same name recorded in Australia in 1982 (also re-released as Live In Australia and Live In Oz). This version of Canned Heat would also soon dissolve with a dispute between Mike Halby and de la Parra after the recording of the Heat Brothers '84 EP.
During the 1980s the interest in the type of music played by Canned Heat was revived and, despite the past tragedies and permanent instability, the band appeared to be revitalized. In 1985, Trout had left to join John Mayall's Bluesbreakers, so Vestine was once again back in the band and he brought with him new musical talent from Oregon in James Thornbury (slide guitar and lead vocals) and Skip Jones (Bass). They were dubbed the "Nuts and Berries" band by de la Parra, due to their love of organic food. It was not long before former members Larry Taylor (replacing Jones) and Ronnie Barron returned to round out the group. Versions of this lineup would record the live album, Boogie Up The Country, in Kassel, Germany, in 1987 and also appear on the Blues Festival Live in Bonn '87 Vol 2 compilation. Barron, just as before did not last long in this lineup, nor did Vestine, who was once again ousted from the band due to pressure from Larry Taylor. Replacing Vestine on lead guitar was Junior Watson; his style emulated Hollywood Fats (who died in late 1986) and was perfectly suited for the band as witnessed by the well-regarded album, Reheated. Unfortunately, the album was released only in Germany in 1988 due to disagreements with the Chameleon Music Group Record label.[34] In 1990, the "Would-Be" lineup of James T, Taylor, Watson and de la Parra also recorded a sequel live album in Australia entitled Burnin' Live.
The lineup dissolved in the early 1990s as Junior Watson went his own way and Mandel came back into the fold, bringing along Ron Shumake on bass to take some of the load off of Larry Taylor. Mandel, however, left the band after a few tours, so female singer and guitarist Becky Barksdale was brought in for a tour of France, Germany and Hawaii; but lasted no longer. Smokey Hormel was also considered, but only played one gig before friction between de la Parra and Larry Taylor caused Taylor to bitterly go his separate way with Hormel in tow.[35]
The revolving door that was Canned Heat continued as Vestine and Watson made their returns to the lineup as the "Heavy Artillery" band. Several former members including Mandel, Barron and Taylor joined up in de la Parra's effort for the album, Internal Combustion, which was released in 1994, but saw only limited release due to the returning manager Skip Taylor's falling out with Red River Records. In 1995, James Thornbury left the band with no hard feelings after ten years of service to live the married life in New South Wales, Australia and new front-man Robert Lucas came in to take his place. Mandel returned and Shumake left the band in 1996, and after the position of bassist was taken temporarily by Mark "Pocket" Goldberg,[36] Greg Kage took the reins as the bass player, and after a reconciliation with Larry Taylor the band released, Canned Heat Blues Band, in 1996. On October 20, 1997, a tired and cancer stricken Vestine died in Paris, France following the final gig of a European tour.[37] Taylor and Watson subsequently left the band.
Canned Heat today
Canned Heat's popularity has endured in some European countries and Australia. In Belgium they have a particularly devoted following thanks in great part to Walter de Paduwa, aka Dr. Boogie, considered by the band as their "official historian".[38] He has assisted de la Parra in compiling and producing, The Boogie House Tapes Vol. 1 in 2000, The Boogie House Tapes Vol. 2 in 2004, and Dr. Boogie Presents Rarities from the Bob Hite Vaults in 2008; all collected from unreleased and rare Canned Heat recordings. Dr. Boogie's weekly Sunday evening radio show on Radio Classic 21,[39] has for over a decade invariably started with a Canned Heat song.
Canned Heat's recent studio albums include Boogie 2000 (1999), and Friends In The Can (2003), which features various guests including John Lee Hooker, Taj Mahal, Trout, Corey Stevens, Roy Rogers, Mandel, Larry Taylor and Vestine. Eric Clapton and Dr. John made guest appearances on the Christmas Album (2007). In July 2007, a documentary, Boogie with Canned Heat: The Canned Heat Story, was released, as was a biography of Wilson, Blind Owl Blues, by music historian Rebecca Davis Winters.
By 2000, Robert Lucas had departed and the lineup was completed by Dallas Hodge (vocals, guitar),[40] John Paulus (guitar) and Stanley "Baron" Behrens (saxophone, flute). Lucas returned to Canned Heat in late 2005 but left again in the fall of 2008. He died, age 46, on November 23, 2008, at a friend's home in Long Beach, Calififornia; the cause was an apparent drug overdose.[41][42] Other more recent deaths of band members included Bob Hite's brother, bassist Richard Hite, who died at age 50 on September 22, 2001, due to complications with cancer. Also, former bassist Antonio de la Barreda died of a heart attack on February 19, 2009.
From late 2008 to the Spring of 2010 the lineup included Dale Spalding (guitar, harmonica and vocals), Barry Levenson (lead guitar), Greg Kage (bass), and classic lineup hold-over and band leader de la Parra on drums. Mandel and Larry Taylor toured with Canned Heat during the summer of 2009 on the Heroes of Woodstock Tour to celebrate the 40th anniversary of Woodstock.
In 2010, Taylor and Mandel officially replaced Kage and Levenson, and as of 2012, this lineup (de la Parra, Taylor, Mandel, and Spalding) continues to tour regularly.
In October 2012, during a festival tour in Spain, France and Switzerland, Randy Resnick was called to replace Harvey Mandel who had to quit the tour for a family emergency. Resnick played two dates, October 4th and 5th, but had to return home for prior commitments. Fito de la Parra was able to get John Paulus to fly in from Portland to finish the tour.
On September 7, 2013 John Paulus once again subbed for Harvey Mandel at The Southern Maryland Blues Festival.
The current line up of Canned Heat has no members of the band's original line up from 1965; however, it includes three members from the band's 'classic' line-up, those being de la Parra, Taylor, and Mandel. Each of these three members also played with the band at Woodstock.

 John Lee Hooker & Canned Heat - Boogie Chillen No. 2 





John Lee Hooker 

 

John Lee Hooker (* 22. August 1917[1] in Clarksdale, Mississippi; † 21. Juni 2001 in Los Altos, Kalifornien) war ein einflussreicher US-amerikanischer Bluesmusiker.
Leben
Kindheit und Jugend
John Lee Hooker war eines der elf Kinder von William und Minnie Hooker. Nach deren Trennung heiratete seine Mutter 1923 den Baumwollpflücker William Moore aus Shreveport, Louisiana. William Moore war in seiner Freizeit auch Bluesmusiker. Er bewegte den jungen John Lee dazu, sich neben dem Chorgesang auch für andere Musikrichtungen zu interessieren. In einem Interview sagte Hooker einmal, dass sein Stiefvater ihn zu seinem eigenen, unverwechselbaren Stil gebracht habe. Wie groß sein Einfluss war, lässt sich nicht mehr nachvollziehen, da es von Moore keine Plattenaufnahmen gibt. Zu Hookers Stil gehören auch die Liedtexte, die sich oft sogar dann nicht reimen, wenn der Reim eigentlich fast unvermeidbar ist. In seinem Song I'm in the mood heißt es beispielsweise:

    Everytime I see you, baby, walking down the street,
    know I get a thrill now, baby, from my head down to my toes (anstelle von feet)

Schon in jungen Jahren zog Hooker durch die Südstaaten, um mit seiner Musik sein Brot zu verdienen. Während dieser Zeit traf er auch auf die beiden Musiker Tony Hollins und Tommy McClennan. Der Einfluss dieser beiden spiegelte sich zum einen im stampfenden Rhythmus wider, zum anderen auch darin, dass er Songs der beiden spielte. Mit vierzehn Jahren machte John Lee Hooker, der sein Leben lang weder lesen noch schreiben lernte,[2] dann in Memphis, Tennessee Station. Aufgrund seines Alters und seines jugendlichen Erscheinungsbildes hatte es der junge Musiker aber schwer, in die Clubs zu kommen. Und wenn er es einmal schaffte, wurde er von seinen älteren Kollegen in der Regel als störend empfunden. Bis auf seine Bekanntschaft mit dem Gitarristen Robert Nighthawk war die Zeit in Memphis nicht sehr fruchtbar für Hooker, so dass er sich weiter Richtung Norden nach Cincinnati, Ohio aufmachte. Dort schlug er sich ab 1933 mit ein paar Auftritten in Gospelquartetts und Gelegenheitsjobs durch.
Karriere
Im Jahre 1934 heiratete er und zog nach Detroit, Michigan um. Dort hatte er in einem Club in der Hastings Street im Jahr 1937 seinen ersten Auftritt. Nach einigen nicht kommerziellen Aufnahmeversuchen spielte er am 3. September 1948 im United Sound Studio die Titel Boogie Chillen, Sally May (oder Sally Mae), Highway Blues oder Wednesday Evening Blues, insgesamt zehn Titel, ein, allesamt produziert von Bernard Besman. Auf der ersten Single wurden Sally May / Boogie Chillen[3] platziert, veröffentlicht am 3. November 1948 (Modern #627). Die Aufnahmebedingungen waren technisch so einwandfrei, dass man Hookers Hand die Gitarrensaiten berühren hört. Toningenieur bei dem Song mit den typischen Gitarren-Staccatos und dem ungewöhnlichen Fußstampfen war Joe Siracuse; Hooker begleitet sich lediglich auf der Gitarre. Die ersten drei Titel verbrauchten einen großen Teil der für drei Stunden anberaumten Aufnahmezeit, sodass Boogie Chillen unter Zeitdruck entstand.[4] Boogie Chillen belegte am 19. Februar 1949 für eine Woche den ersten Rang in der Rhythm & Blues-Hitparade und war mit einer Million verkaufter Platten[5] der erste Erfolg für John Lee Hooker und für das Detroiter Studio. Die zweite Session mit Hooker fand am 18./19. Februar 1949 statt (Weeping Willow Boogie, Hobo Blues und Crawling King Snake). Hookers I’m in the Mood wurde am 7. August 1951 aufgenommen, belegte für 4 Wochen die Topposition und erreichte ebenfalls Millionenseller-Status.[6] Am 22. Mai 1952 entstanden It Hurts me So, I Got Eyes For You, I Got The Key, Bluebird Blues und Key to the Highway. Der Studiotermin vom 18. Oktober 1954 brachte insgesamt 4 Titel hervor (Odds Against Me, Nothin‘ But Trouble, I Need Love so Bad und Don’t Trust Nobody). Es war die letzte Aufnahmesession von Hooker bei United Sound. Von den über 200 Titeln Hookers entstanden die musikhistorisch wichtigsten in den United Sound Studios.
Mit seiner Mischung aus Gesang und Sprache und den ansteckenden Beats traf er den Nerv der farbigen Plattenkäufer dieser Zeit. Hinzu kam seine elektrisch verstärkte Gitarre, mit der er einen neuartigen und richtungsweisenden Sound schuf. Ebenfalls neu waren seine Instrumentalstücke, die er, nur durch das Klacken der Kronkorken unter seinen Schuhsohlen begleitet, auf seiner Gitarre spielte. Hooker spielte in dieser Zeit meistens solo. Ab und zu wurde er von Musikern wie Eddie Burns, Boogie Woogie Red oder Eddie Kirkland begleitet.
In den kommenden Jahren wuchs durch zahlreiche Plattenaufnahmen und Tourneen seine Popularität. Anfang der 1950er-Jahre folgte allerdings ein Karriereknick. Durch Musiker wie beispielsweise B. B. King, die über eine ausgefeiltere Spieltechnik verfügten, wurde er in den Hintergrund gedrängt. Erst Mitte der 1950er konnte er ein Comeback feiern. Mit Jimmy Reed (Gitarre), Eddie Taylor (Mundharmonika), George Washington (Bass) und Tom Whitehead (Schlagzeug) verfügte er über eine starke Begleitband. Als dann gegen Ende der 1950er der Blues zunehmend das Interesse der Studenten und Intellektuellen weckte, rückte John Lee Hooker in den Blickpunkt junger Weißer. Zunächst aber galt das Interesse dieser Kreise mehr einer der ursprünglichsten Spielarten des Blues, dem Country Blues. Das veranlasste zahlreiche Bluesmusiker dazu, zu den Wurzeln ihrer Musik zurückzukehren, unter ihnen auch Hooker. Aus dieser Zeit stammen Plattenaufnahmen wie The Folk Blues of John Lee Hooker und The Folklore of John Lee Hooker.
Anfang der 1960er-Jahre gewann Hooker auch in der Popwelt immer mehr an Beachtung. Im Zuge des Rhythm and Blues-Booms in England schaffte er sogar den Sprung in die Pop-Hitparaden. 1967 landete die umstrittene Band MC 5 mit dem Stück The Motor City is Burning von Hookers Album Urban Blues einen Hit. Das veranlasste Hooker dazu, sich ebenfalls im Rock-Geschäft zu versuchen. Gruppen wie Canned Heat oder Musiker wie Van Morrison waren sehr an der Zusammenarbeit mit ihrem Vorbild interessiert und spielten mit ihm Songs wie etwa The World Today ein.
Gegen Ende der 1970er wurde es still um John Lee Hooker. Er trat zwar noch regelmäßig auf und arbeitete an einigen Filmen mit (unter anderem sah und hörte man ihn im Kultfilm Blues Brothers mit Boogie Chillun und Boom Boom), aber er verschwand fast völlig aus dem Licht der Öffentlichkeit. 1980 wurde er in die Blues Hall of Fame aufgenommen, 2009 sein Song "Boom Boom".
1989 war er auf dem Album The Iron Man von Pete Townshend zu hören. Dort übernahm er den Part des Iron Man. Um so furioser war dann sein Comeback Ende desselben Jahres mit seinem Album The Healer, bei dem so bekannte Größen wie Bonnie Raitt oder Carlos Santana mitwirkten und für das er einen Grammy erhielt. Fast 40 Wochen hielt sich The Healer allein in den US-Charts. Gekrönt wurde John Lee Hookers Comeback durch einen Grammy, den der inzwischen 72-jährige am 21. Februar 1990 für I’m in the Mood, sein Duett mit Bonnie Raitt, in der Kategorie „beste traditionelle Blues-Aufnahme“ in Empfang nehmen durfte. Eine weitere Ehrung wurde ihm im Oktober des gleichen Jahres zuteil: Im Rahmen eines Blues-Festivals im New Yorker Madison Square Garden spielte eine erlesene Musiker- und Sängerschar, darunter Albert Collins, Joe Cocker, Bo Diddley, Huey Lewis und Little Feat, unter dem Motto „A Tribute To John Lee Hooker“ auf. Wenige Monate später, im Januar 1991, folgte noch eine wichtige Auszeichnung: die Aufnahme in die Rock and Roll Hall of Fame[7]. In seiner Dankesrede sagte er, dass er sich sehr über dieses Geschenk freue, und er versprach dafür seinem Publikum, „bis an sein Lebensende für sie da zu sein und den Blues für sie zu spielen“.
Im folgenden Jahr erschien dann das Album Mr. Lucky in Zusammenarbeit mit Van Morrison, Keith Richards, Johnny Winter und Robert Cray. Aber seine Musik überwand wieder die Grenzen des reinen Blues: so bedienten sich Depeche Mode bei ihrem Hit Personal Jesus eines John-Lee-Hooker-Gitarrenriffs.
John Lee Hooker blieb in Spiellaune, fand aber 1992 „ ... den Weg zurück zum ungeschliffenen, authentischen Blues“. Er war inzwischen zum kleinen britischen Point-Blank-Label gewechselt und hatte, diesmal nur mit wenigen Sessionmusikern (Robert Cray, Charlie Musselwhite, Fabulous Thunderbird, Jimmie Vaughan und John Hammond), das Album Boom Boom eingespielt. Der Titelsong ist eine Neuauflage (Remake) seines Hits aus den 1960ern und fand auch in einem Werbespot für eine Blue-Jeans-Marke Verwendung.
1993 spielte er auf dem Album Blues Summit von B.B. King mit, obwohl die beiden Musiker stilistisch meilenweit voneinander entfernt waren. Trotzdem konnte der Manager Kings, Sid Seidenberg, die beiden dazu überreden.[8]
Im Oktober 1997 eröffnete Hooker den Boom Boom Room in San Francisco, einen Blues-, Boogie-, Soul-, Groove- und Funk-Club. John Lee Hooker war nicht der Besitzer des Clubs, er erlaubte lediglich die Verwendung seines Namens für die Dauer von fünf Jahren.
Zu Beginn der 1990er-Jahre sagte John Lee Hooker bei einem Interview mit dem Rolling Stone Magazine, dass er sich in Zukunft etwas mehr Ruhe gönnen möchte. Er wolle keine Platten mehr aufnehmen und keine großen Konzerte mehr geben. Allerdings schränkte er das auch direkt wieder ein:
„Wenn ich aber hier bei mir zu Hause bin, dann kommt oft der Wunsch auf, wieder zu spielen. Dann nehme ich meine Gitarre, gehe zur Bushaltestelle und fahre zum nächsten Pub, spiele ein paar Songs und fahre dann wieder“.
John Lee Hooker starb am Donnerstag, 21. Juni 2001 im Schlaf. Noch fünf Tage zuvor hatte er zum letzten Mal auf der Bühne gestanden.

http://de.wikipedia.org/wiki/John_Lee_Hooker

John Lee Hooker With Canned Heat - Tease Me Baby 

John Lee Hooker (August 22, 1917 – June 21, 2001) was an American blues singer, songwriter and guitarist. He was born in Mississippi, the son of a sharecropper, and rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie style. Some of his best known songs include "Boogie Chillen'" (1948), "Crawling King Snake" (1949), "Dimples" (1956), "Boom Boom" (1962), and "One Bourbon, One Scotch, One Beer" (1966) – the first being the most popular race record of 1949.
Early life
There is some debate as to the year of Hooker's birth[3][4] in Coahoma County, Mississippi,[5] the youngest of the eleven children of William Hooker (1871–1923),[6] a sharecropper and Baptist preacher, and Minnie Ramsey (born 1875, date of death unknown);[7] according to his official website, he was born on August 22, 1917.
Hooker and his siblings were home-schooled. They were permitted to listen only to religious songs, with his earliest 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 Hooker with his first introduction to the guitar (and whom John would later credit for his distinctive playing style).[8] John's stepfather was his first outstanding blues influence. William Moore was a local blues guitarist who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time.[5] Around 1923 his natural father died. At the age of 14, John Lee Hooker ran away from home, reportedly never seeing his mother or stepfather again.[9]
Throughout the 1930s, Hooker lived in Memphis, Tennessee where he worked on Beale Street at The New Daisy Theatre and occasionally performed at house parties.[5] 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 pianists, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly and, seeking a louder instrument than his acoustic guitar, he bought his first electric guitar.[10]
Career
Hooker's recording career began in 1948 when his agent placed a demo, made by Hooker, with the Bihari brothers, owners of the Modern Records label. The company initially released an up-tempo number, "Boogie Chillen'", which became Hooker's first hit single.[5] Though they were not songwriters, the Biharis often purchased or claimed co-authorship of songs that appeared on their labels, thus securing songwriting royalties for themselves, in addition to their own streams of income.
Sometimes these songs were older tunes that Hooker renamed, as with B.B. King's "Rock Me Baby", anonymous jams "B.B.'s Boogie", or songs by employees (bandleader Vince Weaver). The Biharis used a number of pseudonyms for songwriting credits: Jules was credited as Jules Taub; Joe as Joe Josea; and Sam as Sam Ling. One song by John Lee Hooker, "Down Child", is solely credited to Taub, with Hooker receiving no credit. Another, "Turn Over a New Leaf" is credited to Hooker and Ling.
In 1949, Hooker was recorded performing in an informal setting for Detroit jazz enthusiasts. His repertoire included down-home and spiritual tunes that he would not record commercially.[11] The recorded set has been made available in the album Jack O'Diamonds.[12]
Despite being illiterate, Hooker 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 songs from scratch. Recording studios in the 1950s 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. Because of his recording contract, he would record these songs under obvious pseudonyms such as John Lee Booker, notably for Chess Records and Chance Records in 1951/52,[13] as Johnny Lee for De Luxe Records in 1953/54[13] as John Lee, and even John Lee Cooker,[14] or as Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, or The Boogie Man.[15]
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 often made it difficult to use backing musicians who were not accustomed to Hooker's musical vagaries. As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden pallet.[16] For much of this time period he recorded and toured with Eddie Kirkland, who was still performing until his death in a car accident in 2011. Later sessions for the VeeJay label in Chicago used studio musicians on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies very well. His biggest UK hit, "Boom Boom", (originally released on VeeJay) was recorded with a horn section.
Later life
He appeared and sang in the 1980 movie The Blues Brothers. Due to Hooker's improvisational style, his performance was filmed and sound-recorded live at the scene at Chicago's Maxwell Street Market, in contrast to the usual "playback" technique used in most film musicals.[17] Hooker was also a direct influence in the look of John Belushi's character Jake Blues.
In 1989, he joined with a number of musicians, including Carlos Santana and Bonnie Raitt to record the album The Healer, for which he and Santana won a Grammy Award. Hooker 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. The same year he appeared as the title character on Pete Townshend's The Iron Man: The Musical by Pete Townshend.
On December 19, 1989, Hooker appeared with The Rolling Stones and Eric Clapton to perform "Boogie Chillen'"in Atlantic City, N.J., as part of The Rolling Stones Steel Wheels tour. The show was broadcast live on cable television on a pay-per-view basis.
Hooker recorded over 100 albums. He lived the last years of his life in Long Beach, California.[18] In 1997, he opened a nightclub in San Francisco's Fillmore District called John Lee Hooker's Boom Boom Room, after one of his hits.[19]
Death
Hooker fell ill just before a tour of Europe in 2001 and died in his sleep on June 21 at the age of 83, two months before his 84th birthday. He was interred at the Chapel of the Chimes in Oakland, California.[20]
His last live in the studio recording on guitar and vocal was of a song he wrote with Pete Sears called "Elizebeth", featuring members of his Coast to Coast Blues Band with Sears on piano. It was recorded on January 14, 1998 at Bayview Studios in Richmond, California. The last song Hooker recorded before his death was "Ali D'Oro", a collaboration with the Italian soul singer Zucchero, in which Hooker sang the chorus "I lay down with an angel." He is survived by eight children, nineteen grandchildren, eighteen great-grandchildren, a nephew, and fiance Sidora Dazi. He has two children that followed in his footsteps, Zakiya Hooker and John Lee Hooker, Jr.
Among his many awards, Hooker has a star on the Hollywood Walk of Fame and in 1991 he was inducted into the Rock and Roll Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom" were included in the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. "Boogie Chillen" was included as one of the Songs of the Century. He was also inducted in 1980 into the Blues Hall of Fame. In 2000, Hooker was awarded the Grammy Lifetime Achievement Award.
Music and legacy
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 blues standard first recorded by Big Joe Williams, and "Tupelo Blues",[21] a song about the flooding of Tupelo, Mississippi in April 1936.
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.
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.
Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or front porch blues. His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues.[22]
His songs have been covered by Buddy Guy, Cream, AC/DC, ZZ Top, Led Zeppelin, Tom Jones, Bruce Springsteen, Jimi Hendrix, Eric Clapton, Nick Cave & The Bad Seeds, Van Morrison, The Yardbirds, The Animals, The Doors, The White Stripes, MC5, George Thorogood, R. L. Burnside, The J. Geils Band, Big Head Todd and the Monsters, The Gories, Cat Power, and The Jon Spencer Blues Explosion.
Awards and recognition

    A Star on the Hollywood Walk of Fame
    Inducted into the Blues Hall of Fame in 1980.
    Inducted into the Rock and Roll Hall of Fame in 1991.

Grammy Awards:

    Best Traditional Blues Recording, 1990 for I'm in the Mood (with Bonnie Raitt).
    Best Traditional Blues Recording, 1998 for Don't Look Back.
    Best Pop Collaboration with Vocals, 1998, Don't Look Back (with Van Morrison).
    Grammy Lifetime Achievement Award in 2000.
    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. Boogie Chillen was included as one of the
    Songs of the Century.


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