In an interview, John Lee Hooker described the genesis of his 1961 hit Boom boom:
“I used to play at this place called the Apex Bar in Detroit. There was a young lady there named Luilla, she was a bartender there. I would come in there at night and I’d never be on time. Every night the band would beat me there; sometimes they’d be on the bandstand playing by the time I got there. Whenever I’d come in she’d point at me and say ‘Boom boom, you’re late again.’ It dawned on me that that was a good name for a song. Then one night she said, “Boom boom, I’m gonna shoot you down.’ She gave me a song but she didn’t know it.”
“I took that thing and I hummed it all the way home from the bar. At night I went to bed and I was still thinking of it. I got up the next day and put one and one together, two and two together, trying to piece it out—taking things out, putting things in. I finally got it down right, got it together, got it down in my head. Then I went and sang it, and everybody went, Wow!”
“About two months later I recorded it, and the record shot straight to the top. That barmaid felt pretty good. She went around telling everybody ‘I got John Lee to write that song.’ I gave her some bread for it, too, so she was pretty happy.”
Quoted in Working musicians: Defining moments from the road, the studio, and the stage by Bruce Pollock (New York: HarperEntertainment, 2002, pp. 290–91).
According to most sources, today is Hooker’s 100th birthday! Above, recording in 1960, a year before Boom boom; below, a classic performance.
In an interview, Ian Anderson discussed the songs on his third solo album, The secret language of birds.
“I like singing songs that put people in a landscape. I have a picture in my head for each song that I write, and it’s a framed, still image. My early training as a painter and drafter, I think, produced in me a way of writing music and lyrics that illustrate visual ideas.”
“I try to bring some maturity to the thing I’ve been doing for most of my career, writing songs that tell people a story, not in the temporal sense, but a story they make up to fit the picture I suggest to them.”
“It’s like sending people a postcard. You’re giving them a little flavor of where you are and what you feel and how you’re getting on. But it can only be just that, a little snapshot. They have to do some of the work to imagine the bigger picture.”
This according to “Passion plays: Ian Anderson’s three decades of visual songwriting with Jethro Tull” by Steve Boisson (Acoustic guitar XI/5:95 [November 2000] pp. 86–97).
Today is Anderson’s 70th birthday! Above, performing in 2000, the year the album was released; below, the album’s title track.
The German physician Hans Leicher undertook an operation on Richard Strauss’s nose in 1928, when the composer was working on his opera Arabella.
Leicher subsequently recalled that Strauss drafted two numbers for the work in the hospital immediately following the operation, after two cotton balls impregnated with a 2% cocaine solution had put him into such a state of stimulation that instead of resting he was inspired, and worked intensively.
The numbers were the duets Aber der Richtige, wenn’s einen gibt für mich and Und du wirst mein Gebieter sein, often described as the finest moments in the score.
This according to “Richard Strauss und die Hals-Nasen-Ohren-Heilkunde: Zur Entstehungsgeschichte der zwei schönsten Duette der Oper Arabella” by Herbert Pichler (Richard Strauss-Blätter I [June 1979] pp. 46–53).
Above, the 1918 portrait by Max Liebermann; below, Elisabeth Schwarzkopf and Anny Felbermayer sing Aber der Richtige.