This Little Voice - Earl Hooker & Jody Williams
Viewed 0 times
Print this lyrics Print it!
| Page format: |    |
Direct link:
BB code:
Embed:
This Little Voice Lyrics
We don't have this lyrics yet, you can help us by submit it
After Submit Lyrics, Your name will be printed as part of the credit when your lyric is approved.
Submit Lyrics
Lyrics provided by LyricsEver.com
Earl Hooker
Earl Zebedee Hooker (January 15, 1930 – April 21, 1970) was a Chicago blues guitarist known for his slide guitar playing. Considered a "musician's musician",[2] he performed with blues artists such as Sonny Boy Williamson II, Junior Wells, and John Lee Hooker and fronted his own bands. An early player of the electric guitar, Hooker was influenced by the modern urban styles of T-Bone Walker and Robert Nighthawk. He recorded several singles and albums as a bandleader and with other well-known artists. His "Blue Guitar", a slide guitar instrumental single, was popular in the Chicago area and was later overdubbed with vocals by Muddy Waters as "You Shook Me".
In the late 1960s, Hooker began performing on the college and concert circuit and had several recording contracts. Just as his career was on an upswing, he died in 1970, at age 40, after a lifelong struggle with tuberculosis. His guitar playing has been acknowledged by many of his peers, including B.B. King, who commented, "to me he is the best of modern guitarists. Period. With the slide he was the best. It was nobody else like him, he was just one of a kind".
Early Life
Hooker was born in rural Quitman County, Mississippi,[1] outside of Clarksdale. In 1930, his parents moved the family to Chicago, during the Great Migration of blacks out of the rural South in the early 20th century.
His family was musically inclined (John Lee Hooker was a cousin), and Earl heard music played at home at an early age. About age ten, he started playing the guitar. He was self-taught and picked up what he could from those around him. He developed proficiency on the guitar but showed no interest in singing. He had pronounced stuttering, which afflicted him all his life.[4] Hooker contracted tuberculosis when he was young. The disease did not become critical until the mid-1950s, but it required periodic hospitalizations, beginning at an early age.
By 1942, when he was 12, Hooker was performing on Chicago street corners with childhood friends, including Bo Diddley. From the beginning, the blues was Hooker's favorite music. In this period, country-influenced blues was giving way to swing-influenced and jump blues styles, which often featured the electric guitar. In 1942, the popular guitarist T-Bone Walker began a three-month stint at the Rhumboogie Club in Chicago. He had considerable impact on Hooker, with both his playing and his showmanship.[5] Walker's swing-influenced blues guitar, including "the jazzy way he would sometimes run the blues scales"[4] and intricate chording, appealed to Hooker. Walker's stage dynamics, which included playing the guitar behind his neck and with his teeth, influenced Hooker's later stage act.
Around this time, Hooker became friends with Robert Nighthawk, one of the first guitarists in Chicago to play the electric guitar. Nighthawk taught Hooker slide guitar techniques, including various tunings and his highly articulated approach, and was a lasting influence on Hooker's playing. Also around this time, Hooker met Junior Wells, another important figure in his career. The two were frequent street performers, and sometimes, to avoid foul weather (or truancy officers), they played in streetcars, riding from one line to another across Chicago.
Read More Here: Wikipedia: Earl Hooker
Jody Williams
Joseph Leon Williams (February 3, 1935 – December 1, 2018), better known as Jody Williams, was an American blues guitarist and singer. His singular guitar playing, marked by flamboyant string-bending, imaginative chord voicings and a distinctive tone, was influential in the Chicago blues scene of the 1950s.
In the mid-1950s, Williams was one of the most sought-after session guitarists in Chicago, but he was little known outside the music industry, since his name rarely appeared on discs. His acclaimed comeback in 2000 led to a resurgence of interest in his early work and a reappraisal as one of the great blues guitarists. Williams was known for his imaginative chord selection, characterized by raised fives, and minor sixths and minor sevenths with flattened fives. He usually played with an unusual open E tuning, originally taught to him by Bo Diddley. In 2013, Williams was inducted to the Blues Hall of Fame.
Early life
Born in Mobile, Alabama, United States, Williams moved to Chicago at the age of five. His first instrument was the harmonica, which he swapped for the guitar after hearing Bo Diddley play at a talent show where they were both performing. Diddley, seven years his senior, took Williams under his wing and taught him the rudiments of guitar.
Career - Chicago Heyday
By 1951 Williams and Diddley were playing on the street together, with Williams providing backing to Diddley's vocals, accompanied by Roosevelt Jackson on washtub bass. Williams cut his teeth gigging with a string of blues musicians, notably Memphis Minnie, Elmore James, and Otis Spann. After touring with the West Coast piano player Charles Brown, Williams established himself as a session player with Chess Records.
At Chess, Williams met Howlin' Wolf, recently arrived in Chicago from Memphis, Tennessee, and was hired by Wolf as the first guitarist in his new Chicago-based band. A year later Hubert Sumlin moved to Chicago to join Wolf's band, and the dual guitars of Williams and Sumlin are featured on Howlin' Wolf's 1954 singles "Evil Is Going On" and "Forty Four" and the 1955 releases "Who Will Be Next" and "Come to Me Baby." Williams also provided backing on Otis Spann's 1954 release, "It Must Have Been the Devil", which features lead guitar work from B. B. King, one of Williams' early heroes and a big influence on his playing.
Williams's solo career began in December 1955 with the upbeat, saxophone-driven "Lookin' for My Baby", released under the name Little Papa Joe by Blue Lake Records. The record company closed a few months later, leaving his slide guitar performance on "Groaning My Blues Away" unreleased. By this time, Williams was highly sought after as a session guitarist, and his virtuosity in this capacity is well illustrated by his blistering lead guitar work on Bo Diddley's "Who Do You Love?", a hit for Checker Records in 1956. (The rock musician Marshall Crenshaw listed Williams's guitar solo on "Who Do You Love" as one of the greatest guitar solos ever recorded. Other notable session work from the 1950s include lead guitar parts on Billy Boy Arnold's "I Ain't Got You" and "I Wish You Would", Jimmy Rogers's "One Kiss", Jimmy Witherspoon's "Ain't Nobody's Business", and Otis Rush's "Three Times a Fool".
In 1957, Williams released "You May" on Argo Records, with the inventive B-side instrumental "Lucky Lou", the extraordinary opening riff of which Otis Rush copied on his 1958 Cobra Records side "All Your Love (I Miss Loving)". Further evidence of Williams's influence on Rush (they played on a number of sessions together) is Rush's solo on Buddy Guy's 1958 debut, "Sit and Cry (The Blues)", copied almost exactly from Williams's "You May".
Read More Here: Wikipedia: Jody Williams Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Earl Zebedee Hooker (January 15, 1930 – April 21, 1970) was a Chicago blues guitarist known for his slide guitar playing. Considered a "musician's musician",[2] he performed with blues artists such as Sonny Boy Williamson II, Junior Wells, and John Lee Hooker and fronted his own bands. An early player of the electric guitar, Hooker was influenced by the modern urban styles of T-Bone Walker and Robert Nighthawk. He recorded several singles and albums as a bandleader and with other well-known artists. His "Blue Guitar", a slide guitar instrumental single, was popular in the Chicago area and was later overdubbed with vocals by Muddy Waters as "You Shook Me".
In the late 1960s, Hooker began performing on the college and concert circuit and had several recording contracts. Just as his career was on an upswing, he died in 1970, at age 40, after a lifelong struggle with tuberculosis. His guitar playing has been acknowledged by many of his peers, including B.B. King, who commented, "to me he is the best of modern guitarists. Period. With the slide he was the best. It was nobody else like him, he was just one of a kind".
Early Life
Hooker was born in rural Quitman County, Mississippi,[1] outside of Clarksdale. In 1930, his parents moved the family to Chicago, during the Great Migration of blacks out of the rural South in the early 20th century.
His family was musically inclined (John Lee Hooker was a cousin), and Earl heard music played at home at an early age. About age ten, he started playing the guitar. He was self-taught and picked up what he could from those around him. He developed proficiency on the guitar but showed no interest in singing. He had pronounced stuttering, which afflicted him all his life.[4] Hooker contracted tuberculosis when he was young. The disease did not become critical until the mid-1950s, but it required periodic hospitalizations, beginning at an early age.
By 1942, when he was 12, Hooker was performing on Chicago street corners with childhood friends, including Bo Diddley. From the beginning, the blues was Hooker's favorite music. In this period, country-influenced blues was giving way to swing-influenced and jump blues styles, which often featured the electric guitar. In 1942, the popular guitarist T-Bone Walker began a three-month stint at the Rhumboogie Club in Chicago. He had considerable impact on Hooker, with both his playing and his showmanship.[5] Walker's swing-influenced blues guitar, including "the jazzy way he would sometimes run the blues scales"[4] and intricate chording, appealed to Hooker. Walker's stage dynamics, which included playing the guitar behind his neck and with his teeth, influenced Hooker's later stage act.
Around this time, Hooker became friends with Robert Nighthawk, one of the first guitarists in Chicago to play the electric guitar. Nighthawk taught Hooker slide guitar techniques, including various tunings and his highly articulated approach, and was a lasting influence on Hooker's playing. Also around this time, Hooker met Junior Wells, another important figure in his career. The two were frequent street performers, and sometimes, to avoid foul weather (or truancy officers), they played in streetcars, riding from one line to another across Chicago.
Read More Here: Wikipedia: Earl Hooker
Jody Williams
Joseph Leon Williams (February 3, 1935 – December 1, 2018), better known as Jody Williams, was an American blues guitarist and singer. His singular guitar playing, marked by flamboyant string-bending, imaginative chord voicings and a distinctive tone, was influential in the Chicago blues scene of the 1950s.
In the mid-1950s, Williams was one of the most sought-after session guitarists in Chicago, but he was little known outside the music industry, since his name rarely appeared on discs. His acclaimed comeback in 2000 led to a resurgence of interest in his early work and a reappraisal as one of the great blues guitarists. Williams was known for his imaginative chord selection, characterized by raised fives, and minor sixths and minor sevenths with flattened fives. He usually played with an unusual open E tuning, originally taught to him by Bo Diddley. In 2013, Williams was inducted to the Blues Hall of Fame.
Early life
Born in Mobile, Alabama, United States, Williams moved to Chicago at the age of five. His first instrument was the harmonica, which he swapped for the guitar after hearing Bo Diddley play at a talent show where they were both performing. Diddley, seven years his senior, took Williams under his wing and taught him the rudiments of guitar.
Career - Chicago Heyday
By 1951 Williams and Diddley were playing on the street together, with Williams providing backing to Diddley's vocals, accompanied by Roosevelt Jackson on washtub bass. Williams cut his teeth gigging with a string of blues musicians, notably Memphis Minnie, Elmore James, and Otis Spann. After touring with the West Coast piano player Charles Brown, Williams established himself as a session player with Chess Records.
At Chess, Williams met Howlin' Wolf, recently arrived in Chicago from Memphis, Tennessee, and was hired by Wolf as the first guitarist in his new Chicago-based band. A year later Hubert Sumlin moved to Chicago to join Wolf's band, and the dual guitars of Williams and Sumlin are featured on Howlin' Wolf's 1954 singles "Evil Is Going On" and "Forty Four" and the 1955 releases "Who Will Be Next" and "Come to Me Baby." Williams also provided backing on Otis Spann's 1954 release, "It Must Have Been the Devil", which features lead guitar work from B. B. King, one of Williams' early heroes and a big influence on his playing.
Williams's solo career began in December 1955 with the upbeat, saxophone-driven "Lookin' for My Baby", released under the name Little Papa Joe by Blue Lake Records. The record company closed a few months later, leaving his slide guitar performance on "Groaning My Blues Away" unreleased. By this time, Williams was highly sought after as a session guitarist, and his virtuosity in this capacity is well illustrated by his blistering lead guitar work on Bo Diddley's "Who Do You Love?", a hit for Checker Records in 1956. (The rock musician Marshall Crenshaw listed Williams's guitar solo on "Who Do You Love" as one of the greatest guitar solos ever recorded. Other notable session work from the 1950s include lead guitar parts on Billy Boy Arnold's "I Ain't Got You" and "I Wish You Would", Jimmy Rogers's "One Kiss", Jimmy Witherspoon's "Ain't Nobody's Business", and Otis Rush's "Three Times a Fool".
In 1957, Williams released "You May" on Argo Records, with the inventive B-side instrumental "Lucky Lou", the extraordinary opening riff of which Otis Rush copied on his 1958 Cobra Records side "All Your Love (I Miss Loving)". Further evidence of Williams's influence on Rush (they played on a number of sessions together) is Rush's solo on Buddy Guy's 1958 debut, "Sit and Cry (The Blues)", copied almost exactly from Williams's "You May".
Read More Here: Wikipedia: Jody Williams Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Similar Video
Earl Hooker & Jody Williams Lyrics