“A man alone ain’t got no chance.” – Hemingway

Like all great story-telling, John Lee Hooker’s “House Rent Boogie” can make you feel much better about yourself, if you’re willing to meet Hooker half way.

In a nation filled, more and more, with what Noam Chomsky calls the “precariat,” or economically disadvantaged folks who live paycheck to paycheck, dwelling to dwelling, meal to meal, buzz to buzz, never knowing, as Henry Miller put it, when the chair will be yanked out from under their rear ends, and they will be tossed out into the street again, Hooker’s “House Rent Boogie,” also known as “House Rent Blues,” can offer solace and encouragement to many of us.

This kind of story-telling shows what story-telling is really for, which is helping the human species to make its way in this world while we struggle to survive our allotment of days here on the rapidly warming earth.

“House Rent Boogie” comes in different versions. Bob Dylan is famously, and rightly, known for reinventing his and other people’s songs as he travels the world like a modern-day Homer, the great Greek poet, but the great blues players and singers were doing this very same thing quite a while before Dylan came along, as he readily acknowledges. An original version of this story-song appeared some time in the early 1950s.

But the most entertaining, complete, and enduring version of the song, absolutely, one hundred percent, is the one that lasts for six minutes and twenty-four seconds, recorded in 1970, when Hooker was in his 50s. (He was born in 1912 or 1917 and lived until 2001.) This is, truly, one of the greatest blues performances of all time that we have a recording of. J.L.H. is the peer of the best of the best, from Bessie Smith and Billie Holiday to Muddy Waters, Howlin’ Wolf, Buddy Guy, and B.B. King.

(Buddy once followed my wife-at-the-time into the Ladies’ Room at a show in central Kansas in the 1990s while continuing to play his electric guitar the entire time, giving her his big smile in there before modestly retreating. I saw B.B. front row in central Illinois in the 1980s, and was blown away not just by his playing and voice, but by his PRESENCE. For some reason, I kept being reminded of Eisenhower pushing forward the Civil Rights Movement after Louis Armstrong called him a coward, which speaks very well of both men.)

“Precariat” is a combination of the words “precarious” and “proletariat.” “Boogie” means many things, including a fast, strong style of piano blues, a dancing to such music, a dancing to other music, and a way of escaping, literally or figuratively. Hooker’s complex story-telling uses the term in all of the above senses, as he explores and explodes what it’s like to be a part of the precariat in America or any other land, but especially in America, Land of the Almighty Dollar and Home of the Greedy.

The first line of the song is “I’m gonna tell you a story.” This is the talking blues, backed by electric guitar, harmonica, piano, bass, and drums. Hooker’s deep, mellow, profound, strong, confident, masterful, laughing, lamenting voice tells the tale of a man who’s lost his job. While he was employed and had a full wallet, the world was his friend and so were all the people in it. Now that he’s become down-and-out and busted, everyone has suddenly turned dismissive, sarcastic or apologetic as they resolutely turn away. It’s a tale that illustrates Scottish thinker Adam Smith’s “vile maxim,” which was that you shall care for, and worry about, no one but yourself.

Smith is one of the most misunderstood philosophers in the Western world, and he was virulently against adopting this maxim, but he saw how outrageously prevalent it was, especially in commercial and mercantile countries like Great Britain and America. In the Land of the Scam and the Home of the Selfish. John Lee Hooker, no less a philosopher, one who boils down his sense and experience of the world into a personal, satiric, universal narrative, gives the heartless human sphere the solid drubbing it deserves in this eternal song. As a black man in America who was in his 40s before the Civil Rights Movement came along, and who once worked as a factory janitor in Detroit, Michigan, among other such jobs, Hooker knows deeply about what he speaks and sings of.

Charles Mingus called his experimental autobiography, which he spent twenty years on and off writing, “Beneath the Underdog.” This phrase gives a taste of Hooker’s point of view in “House Rent Boogie.” Once your wallet goes in good old America, and you’re thrown back on nothing else but yourself and your wits, things can go bad very quickly, in the land where “the masters of man,” as Adam Smith called them, are perhaps more ruthless than in any other land before or since, or at least just as ruthless.

In 350 or so Hemingwayesque words, including realistic dialogue which Hooker acts out with his voice and punctuates, undercuts, and dramatizes with his electric guitar, his piano player, and his other musicians, who’s chiming, banging, bumping, and ringing away along with him is like the supporting characters in a Shakespeare play, this parable about being down-and-out says so much about the way we live now that it could have been created yesterday, instead of fifty-four years ago.

A recent story on the radio described the United States as a place where it’s “expensive to live and hard to get a job.” And the majority of jobs that are available are so crushingly boring and meaningless for many of us that it’s damn near deadly; or just plain deadly. In America, vast Tower of Babel, where language itself, humanity’s greatest invention, has been stolen and perverted by the politicians, preachers, mass media, ad people, and snake oil sales folks on tv and everywhere.

In the Land of the Avaricious and the Home of the Homeless, where real art and artists, and real thinking and thinkers, are not just rejected, ignored, mocked, and spat upon, they are sometimes even downright crucified, and certainly laughed right out of town. Henry Miller called his own version of this story “The Rosy Crucifixion.” Charles Bukowski wrote about it in almost every line he ever typed. Hooker too is rosy about his busted story, when he switches point of view and comments on himself, the main character, “He rocked on.” He rocked on, and kept going somehow, no matter what. Because this, thank God, is another strong strain in the American character. Perhaps the American Civil Rights Movement of the 1960s showed this strain as well as, or better than, anything else in our history.

In 1980, Hooker appeared in the Blues Brothers movie alongside the white black brothers, Belushi and Akroyd. He was in the Chicago street with his band in front of the Soul Food Café playing “Boom Boom Boom,” and his appearance lends the film the aura of an American reality that’s still ringing true like a bell forty-four years later, maybe more than ever now. And I seem to remember Hooker in the ‘80s and/or early ‘90s in music videos on MTV, wearing his shades with Pete Townshend and being the epitome of cool as much as Miles Davis himself ever was.

Some people in America know what cool is, and some don’t, as Norman Mailer pointed out in his essay “The White Negro” from 1957, originally published in “Dissent” magazine. Mailer’s essay was and is intensely controversial and provocative, probably wildly mistaken in many of its points, but also profound and utterly ground-breaking, praised by the likes of Eldridge Cleaver, and intensely engaged with by James Baldwin and Ralph Ellison. The average Soccer/football Mom, Soccer/football Dad, or Corporate Mom, Corporate Dad are a few who do not know what cool is, according to Mailer. Anyone who’s ever been on the street and all real artists are some of the ones who do know. Mailer’s hipster from the essay is an absolute precursor of hip-hop to the level of being prophetic, except for the crucial point that Mailer’s hipster wants NOTHING at all to do with the so-called American Dream, which Hunter S. Thompson rightly claimed was dead anyway no later than the mid-1970s, ushered out by none other than Tricky Dick himself, the sly old alcoholic precursor of all current want-to-be American dictators and authoritarians.

If Hooker, with his wide range, deep knowledge, and tales of American experience in over 100 albums recorded, is a kind of fragmentary or experimental novelist, as the great Chicago radio host and writer Studs Terkel told me the one and only time I ever met him for ten minutes in the early 2000s, then “House Rent Boogie” is one of his best chapters. Play it loud, and over and over and over. Play it loud, and don’t just listen. Study it.

Scottish farmer-poet, song master, and exciseman Robert Burns, up there right after Shakespeare as one of the most quoted and known writers in the world, is a precursor for all of the American blues poets, story-tellers and singers. Burns’ social justice sympathy extended even unto a mouse whose house, or nest, was wrecked by the plow. His heart and mind went out to the under-mouse as well as the underdog. In similar fashion, John Lee Hooker’s “House Rent Boogie” extends a hand to everyone who’s ever lost a job, lost a friend, lost a romantic partner, or been on the outside in any way. His song title “Teachin’ the Blues” tells us much about his intentions. He was a professor of life, like Muddy Waters and Howlin’ Wolf.

Hooker also has an album called “The Healer.”

Hooker was the Mississippi son of a popular sharecropping minister who thought the blues was the devil’s music. As such, he wouldn’t let his son play his guitar in the house. But Jesus of Nazareth himself was thought to be a devilish demon-conjurer by most of the leaders in his own society. A bunch of townspeople tried to throw him off a cliff one time long before he was finally crucified by the Romans. JC is the first and most profound precursor of the blues. Not only did he have sympathy for the underdog, he knew very much what it was like to be one. Just like John Lee Hooker.