Merline Johnson (born c. 1912 [1] or 1918, [2] date of death unknown) was an American blues singer in the 1930s and 1940s, billed as The Yas Yas Girl. [1] "Yas yas" was a euphemism for buttocks in hokum blues songs such as Blind Boy Fuller's "Get Yer Yas Yas Out" and James "Stump" Johnson's "The Duck's Yas-Yas-Yas".
Little is known of her life. It is generally believed that she was born in Mississippi, [1] though the researchers Bob Eagle and Eric LeBlanc suggest she may have been born Merline Baker in Callaway County, Missouri. [2] She was the aunt of singer LaVern Baker. [1]
Johnson first recorded in Chicago in 1937. One early song was "Sold It to the Devil". Over the next four years she recorded over 90 songs, including "Don't You Make Me High", "I'd Rather Be Drunk", and "Love with a Feeling". She recorded a few risqué songs. [3]
Her speciality was a variety of juke joint blues, with songs such as "Drinking My Blues Away" and "I Just Keep on Drinking", delivered in a tough, unlovable voice. [3] She was accompanied by Big Bill Broonzy, Lonnie Johnson, Blind John Davis, Buster Bennett, and Punch Miller. [1] Her final recordings, not issued at the time, were cut in 1947. [1]
Lil Green was an American blues singer and songwriter. She was among the leading female rhythm and blues singers of the 1940s, with a sensual soprano voice. Gospel singer R.H. Harris has lauded her voice, and her interpretation of religious songs.
Lucille Bogan was an American classic female blues singer and songwriter, among the first to be recorded. She also recorded under the pseudonym Bessie Jackson. Music critic Ernest Borneman noted that Bogan was one of "the big three of the blues", along with Ma Rainey and Bessie Smith. Many of Bogan's songs have been recorded by later blues and jazz musicians.
Blind Boy Fuller was an American blues guitarist and singer. Fuller was one of the most popular of the recorded Piedmont blues artists with rural African Americans along with Blind Blake, Josh White, and Buddy Moss.
Sippie Wallace was an American blues singer and songwriter. Her early career in tent shows gained her the billing "The Texas Nightingale". Between 1923 and 1927, she recorded over 40 songs for Okeh Records, many written by her or her brothers, George and Hersal Thomas. Her accompanists included Louis Armstrong, Johnny Dodds, Sidney Bechet, King Oliver, and Clarence Williams. Among the top female blues vocalists of her era, Wallace ranked with Ma Rainey, Ida Cox, Alberta Hunter, and Bessie Smith.
William Arthur Gaither, sometimes known as "Little Bill" Gaither or Leroy's Buddy, was an American blues guitarist and singer.
Georgia White was an American blues singer, most prolific in the 1930s and 1940s.
Bull City Red was an American Piedmont blues guitarist, singer, and predominately washboard player, most closely associated with Blind Boy Fuller and the Reverend Gary Davis. Little is known of his life outside of his recording career.
Mattie Delaney was an American Delta blues singer and guitarist active in the 1930s. Only two recordings by her are known: "Down the Big Road Blues" and "Tallahatchie River Blues".
Martha Copeland was an American classic female blues singer. She recorded 34 songs between 1923 and 1928. She was promoted by Columbia Records as "Everybody's Mammy", but her records did not sell in the quantities achieved by the Columbia recording artists Bessie Smith and Clara Smith. Apart from her recording career, little is known of her life.
Irene Scruggs was an American Piedmont blues and country blues singer, who was also billed as Chocolate Brown and Dixie Nolan. She recorded songs such as "My Back to the Wall" and "Good Grindin'" and worked with Clarence Williams, Joe "King" Oliver, Lonnie Johnson, Little Brother Montgomery, Blind Blake, Albert Nicholas, and Kid Ory. Scruggs achieved some success but today is largely forgotten.
Charlie Spand was an American blues and boogie-woogie pianist and singer, noted for his barrelhouse style. He was deemed one of the most influential piano players of the 1920s. Little is known of his life outside of music, and his total recordings amount to only thirty-three tracks.
Walter Roland was an American blues, boogie-woogie and jazz pianist, guitarist and singer, noted for his association with Lucille Bogan, Josh White and Sonny Scott. The music journalist Gérard Herzhaft stated that Roland was "a great piano player... as comfortable in boogie-woogies as in slow blues," adding that "Roland – with his manner of playing and his singing – was direct and rural."
Bessie Tucker was an American classic female blues, country blues, and Texas blues singer and songwriter. Little is known of her life outside the music industry. She is known to have recorded just twenty-four tracks, seven of which were alternate takes. Her songs include "Penitentiary" and "Fryin' Pan Skillet Blues".
Coot Grant was an American classic female blues, country blues, and vaudeville singer and songwriter. On her own and with her husband and musical partner, Wesley "Kid" Wilson, she was popular with African American audiences from the 1910s to the early 1930s.
Mary Johnson was an American classic female blues singer, accordionist and songwriter. Her most noted tracks are "Dream Daddy Blues" and "Western Union Blues." She wrote several of the songs she recorded, including "Barrel House Flat Blues", "Key to the Mountain Blues" and "Black Men Blues." Johnson worked with Peetie Wheatstraw, Tampa Red, Kokomo Arnold and Roosevelt Sykes, among others. She was married to the blues musician Lonnie Johnson.
Annie Laurie was an American jump blues and rhythm and blues singer. She is most associated with the bandleader and songwriter, Paul Gayten, although she also registered hit singles in her own name. Laurie first recorded in the mid-1940s and her professional career lasted until the early 1960s. Appraisal of her qualities appear to vary between Dinah Washington stating that Laurie was her favorite singer, to Irma Thomas, who opined - "Annie Laurie? She was okay."
Elzadie Robinson was an American classic female blues singer and songwriter. She recorded 34 songs between 1926 and 1929. Unusually for the time, she composed or co-composed most of her work. Details of her life outside the recording studio are sketchy.