Songs with Earlier Histories Than the Hit Version

Help support this site! Consider clicking an ad from time to time. Thanks!

« Go Back to Previous Page «  

Tagged: “Big” Joe Turner

Beale Street Blues

First recorded by Prince’s Band (1917).
Popular versions by W.C. Handy (1917), Marion Harris (1921), Jelly Roll Morton (1926), Fats Waller & Alberta Hunter (1927), “Big” Joe Turner (1940), Louis Armstrong (1954), Ella Fitzgerald (1958).

From the wiki: “‘Beale Street Blues’ was written in 1917 by American composer and lyricist W.C. Handy. The title refers to Beale Street in Memphis, Tennessee, the main entertainment district for the city’s African American population in the early part of the twentieth century, and a place closely associated with the development of the Blues.

“‘Beale Street Blues’ was popularized for an audience when sung on Broadway by Gilda Gray in the 1919 musical revue Schubert’s Gaieties but first gained mass circulation when Prince’s Band recorded the song for Columbia Records in 1917. One of the earliest vocal arrangements of ‘Beale Street Blues’ was recorded by Marion Harris in 1921.

Shake, Rattle and Roll

Originally recorded by “Big” Joe Turner & His Blues Kings (US #22/R&B #1 1954).
Other hit version by Bill Haley & His Comets (US #7/UK #4/AUS #18 1954).

From the wiki: “In early 1954, Ahmet Ertegun of Atlantic Records suggested to Jesse Stone (writing under his assumed name ‘Charles E. Calhoun’) that he write an up-tempo blues for ‘Big’ Joe Turner, a blues shouter whose career had begun in Kansas City before World War II. Stone played around with various phrases before coming up with ‘shake, rattle and roll’. The shouting chorus on Turner’s version consisted of Stone, Ertegun and Atlantic’s other label executive, Jerry Wexler.

“The song, in its original incarnation, is highly sexual. [Among other salacious lyrics,] Stone stated that the line about ‘a one-eyed cat peepin’ in a seafood store’ was suggested to him by Atlantic session drummer Sam ‘Baby’ Lovett as an on-the-sly sexual reference. Turner’s recording was released in April 1954, reached #1 on the US Billboard R&B chart on June 12 and did not move for three weeks. It peaked at #22, nearly at the same time, on the Billboard Hot 100.