"Honey Hush" | |
---|---|
Single by Big Joe Turner | |
B-side | "Tomorrow Night" |
Released | August 1953 |
Genre | Blues, rhythm and blues |
Length | 2:25 |
Label | Atlantic |
Songwriter(s) | Lou Willie Turner |
Music video | |
"Honey Hush" on YouTube |
"Honey Hush", is a blues song, written by Big Joe Turner (although he assigned the copyright to his wife, Lou Willie Turner), recorded in May 1953 in New Orleans, Louisiana, and released that August by Atlantic Records. It was a number-one song on Billboard's Rhythm and Blues chart for eight weeks. [1]
The single was Turner's second million-seller, following his 1951 "Chains of Love". [2]
Turner, a big Kansas City blues shouter, had been spending all of his time out on the road, while Atlantic's Ahmet Ertegun was getting nervous that his backlog of Turner recordings was running low. When Turner was near New Orleans, Ertegun insisted that he make some recordings. Atlantic's New Orleans recording studio was fully booked, so Turner recorded some sides in the studio of local radio station WDSU. He did not have his own band, but was able to round up the trombonist Pluma Davis and his band, the Rockers, as well as the boogie rhythm pianist, James Tolliver. [1] Other musicians on the recording included Dimes Dupont on alto saxophone and Warren Hebrew on tenor saxophone. [3]
Like the session, the song is largely adlibbed traditional blues verses with various incongruous lines thrown in, to a standard 12-bar blues. It opens with the bold statement, "Aw let 'em roll like a big wheel in a Georgia cotton field, Honey hush!" The title in this song Turner revealed his typical attitude toward a woman who will not do what he tells her to do, while the tailgate trombone gives the woman's raucous answers back. Although his songs talk about relationships as misery, his emotion in the song is upbeat. To quote Arnold Shaw in his book Honkers and Shouters: [4]
"Love ain't nothin' but a lot of misery," he would declare, exhibiting no emotion in his characterization of the female as demanding, unprediciable, and untrustworthy. But unlike his predecessors in the blues, he did not cry or get uptight over it.
The spirit of the song is the good-natured optimism that characterized his work. [5] His lyrics are sexually suggestive and aimed at an adult audience and his vocal style is that of an urban blues shouter –intimate and relaxed. [6]
Come in this house, stop all that yakkety yak (2×)
Come fix my supper, don't want no talkin' back
Well you keep on jabberin', talk about this and that (2×)
I got news for you, baby, you ain't nothin' but an alley cat
Well you keep on jabberin', talk about this and that ( 2×)
Don't make me nervous, 'cause I'm holding a baseball bat
Hi-yo, hi-yo, Silver
The final lyric is a reference to the "Hi-Yo Silver!" trope popularised by the Lone Ranger television series, that aired on the ABC Television network from 1949 to 1957.
The advent of rock and roll narrowed the content of songs to adolescent preoccupations and made simple the complicated rhythms of rhythm and blues. The explicitly sexual content was too adult, as was the singer's strong voice tone as well as his raw assumptions about life. A year later, in 1954, a Turner song very similar to this one, "Shake, Rattle and Roll," with its boogie-woogie rhythm and squawking saxophone was cleaned up by Bill Haley to become a hit as rock and roll changed the face of music. Turner turned to recording songs by rock and roll writers, but his blues shouter voice betrayed him and his career faded. [5]
However, not long after the rock and roll craze hit, a new audience of intellectuals, college students, and eventually beatniks, and then another with European blues fans joining in, gave singers in partial retirement or obscurity new opportunities although they had to clean up some to fit the new role of authenticity, fueled by the writings of Samuel Charters, demanded by these new audiences. For urban blues singers, having grown up in cities, it was convenient to be labelled as country singers to fit the criteria of purity. [6]
In 1959, Turner re-recorded "a much tamer, lamer, teenage rock'n'roll version" [1] of "Honey Hush" for Atlantic which was a mild hit and his last one. Turner returned to performing with jazz combos as the rock and roll founders settled in to please the suddenly important teenage market. [7]
This section needs additional citations for verification .(January 2021) |
The song has been covered by — among many others — Jerry Lee Lewis, Albert King, Robert Nighthawk, Screaming Lord Sutch, Foghat, Coco Montoya, Fleetwood Mac (on the album Kiln House, listed as "Hi Ho Silver"), George Jones, Elvis Costello, Jools Holland (on his album The Informer. [11] ), NRBQ, and John Lindberg Trio.[ citation needed ]
Rock and roll is a genre of popular music that evolved in the United States during the late 1940s and early 1950s. It originated from African American music such as jazz, rhythm and blues, boogie-woogie, electric blues, gospel, jump blues, as well as country music. While rock and roll's formative elements can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954.
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.
"Rocket 88" is a song that was first recorded in Memphis, Tennessee, in March 1951. The recording was credited to "Jackie Brenston and his Delta Cats"; while Brenston did provide the vocals, the band was actually Ike Turner and his Kings of Rhythm. The single reached number one on the Billboard R&B chart.
Atlantic Recording Corporation is an American record label founded in October 1947 by Ahmet Ertegun and Herb Abramson. Over the course of two decades, starting from the release of its first recordings in January 1948, Atlantic earned a reputation as one of the most important American labels, specializing in jazz, R&B, and soul by Aretha Franklin, Ray Charles, Wilson Pickett, Sam and Dave, Ruth Brown and Otis Redding. Its position was greatly improved by its distribution deal with Stax. In 1967, Atlantic became a wholly owned subsidiary of Warner Bros.-Seven Arts, now the Warner Music Group, and expanded into rock and pop music with releases by Crosby, Stills, Nash & Young, Led Zeppelin, and Yes.
Joseph Vernon "Big Joe" Turner Jr. was an American blues shouter from Kansas City, Missouri. According to songwriter Doc Pomus, "Rock and roll would have never happened without him". Turner's greatest fame was due to his rock and roll recordings in the 1950s, particularly "Shake, Rattle and Roll", but his career as a performer endured from the 1920s into the 1980s.
Clyde Lensley McPhatter was an American rhythm and blues, soul, and rock and roll singer. He was one of the most widely imitated R&B singers of the 1950s and early 1960s and was a key figure in the shaping of doo-wop and R&B.
"Shake, Rattle and Roll" is a song written in 1954 by Jesse Stone and first recorded that year by Big Joe Turner, whose version ranked No. 127 on the Rolling Stone magazine list of The 500 Greatest Songs of All Time.
Curtis Ousley, known professionally as King Curtis, was an American saxophonist who played rhythm and blues, jazz, and rock and roll. A bandleader, band member, and session musician, he was also a musical director and record producer. A master of the instrument, he played tenor, alto, and soprano saxophone. He played riffs and solos on hit singles such as "Respect" by Aretha Franklin (1967), and "Yakety Yak" by The Coasters (1958) and his own "Soul Twist" (1962), "Soul Serenade" (1964), and "Memphis Soul Stew" (1967).
The origins of rock and roll are complex. Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s originating from African-American music. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, the beat-heavy jump blues, boogie woogie, up-tempo jazz, and swing music. It was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known simply as rock music.
"What'd I Say" is an American rhythm and blues song by Ray Charles, released in 1959. As a single divided into two parts, it was one of the first soul songs. The composition was improvised one evening late in 1958 when Charles, his orchestra, and backup singers had played their entire set list at a show and still had time left; the response from many audiences was so enthusiastic that Charles announced to his producer that he was going to record it.
"Tweedlee Dee" is a rhythm and blues novelty song with a Latin-influenced riff written by Winfield Scott for LaVern Baker and recorded by her at Atlantic Records' studio in New York City in 1954. It was her first hit, reaching number 4 on Billboard magazine's R&B chart and number 14 on its pop chart. It was Scott's first commercially successful song.
Paul Burlison was an American pioneer rockabilly guitarist and a founding member of The Rock and Roll Trio. Burlison was born in Brownsville, Tennessee, where he was exposed to music at an early age. After a stint in the United States Military, Burlison teamed up with Johnny and Dorsey Burnette to form The Rock and Roll Trio. The band released several singles, but failed to attain chart success. Paul is sometimes credited with being the first guitarist to intentionally record with a distorted electric guitar on the 1956 recordings, "Lonesome Train on a Lonesome Track" and "Honey Hush." The trio disbanded in the fall of 1957 and Burlison moved back to Tennessee to start a family. There he started his own electrical subcontracting business which he ran faithfully for twenty years, taking a break when the trio reunited in the early 1980s. He released his only solo album in 1997, which received positive reviews. Burlison remained active in the music scene until his death in 2003.
Jesse Albert Stone was an American rhythm and blues musician and songwriter whose influence spanned a wide range of genres. He also used the pseudonyms Charles Calhoun and Chuck Calhoun. His best-known composition as Calhoun was "Shake, Rattle and Roll".
Jackie Brenston was an American singer and saxophonist who, with Ike Turner's band, recorded the first version of the rock-and-roll song "Rocket 88" in 1951.
"Train Kept A-Rollin'" is a song first recorded by American jazz and rhythm and blues musician Tiny Bradshaw in 1951. Originally performed in the style of a jump blues, Bradshaw borrowed lyrics from an earlier song and set them to an upbeat shuffle arrangement that inspired other musicians to perform and record it. Johnny Burnette and the Rock and Roll Trio made an important contribution in 1956 – they reworked it as a guitar riff-driven song, which features an early use of intentionally distorted guitar in rock music.
"Teardrops from My Eyes", written by Rudy Toombs, was the first upbeat major hit for Ruth Brown, establishing her as an important figure in rhythm and blues. Recorded for Atlantic Records in New York City in September 1950, and released in October, it was Billboard's number-one R&B hit for 11 non-consecutive weeks. It was Atlantic's first release on the new 45-rpm record format. The huge hit earned Brown the nickname "Miss Rhythm" and within a few months she became the acknowledged queen of R&B. "Teardrops from My Eyes" was her first of five number-one R&B hits.
Rudolph Toombs was an American performer and songwriter. He wrote "Teardrops from My Eyes", Ruth Brown's first number one R&B song, and other hit songs for her, including "5-10-15 Hours". He also wrote "One Mint Julep" for The Clovers.
Ahmet Ertegun was a Turkish-American businessman, songwriter, record executive and philanthropist.
The Bosses is a 1973 album by American blues shouter "Big Joe" Turner accompanied by a small group led by Count Basie, recorded in 1973 and released on the Pablo label.
"Chains Of Love", a 12-bar blues, was written by Doc Pomus.