Although he came to his greatest fame in the 1950s with his pioneering rock and roll recordings, particularly "Shake, Rattle and Roll", Turner's career as a performer stretched from the 1920s into the 1980s.
(for stride pianist Joseph H. Turner (3.11.07-21.7.90) > Joe Turner)
Known variously as The Boss of the Blues, and Big Joe Turner (due to his 6'2", 300+ lbs stature), Turner was born in Kansas City and first discovered his love of music through involvement in the church. Turner's father was killed in a train accident when Joe was only four years old. He began singing on street corners for money, leaving school at age fourteen to begin working in Kansas City's club scene, first as a cook, and later as a singing bartender. He eventually became known as The Singing Barman, and worked in such venues as The Kingfish Club and The Sunset, where he and his piano playing partner Pete Johnson became resident performers. The Sunset was managed by Piney Brown. It featured "separate but equal" facilities for white patrons. Turner wrote "Piney Brown Blues" in his honor and sang it throughout his entire career.
At that time Kansas City was a wide-open town run by "Boss" Tom Pendergast. Despite this, the clubs were subject to frequent raids by the police, but as Turner recounts, "The Boss man would have his bondsmen down at the police station before we got there. We'd walk in, sign our names and walk right out. Then we would cabaret until morning".
His partnership with boogie-woogie pianist Pete Johnson proved fruitful. Together they headed to New York in 1936, where they appeared on a bill with Benny Goodman, but as Turner recounts, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K.C.". Eventually they were spotted by the talent scout, John H. Hammond in 1938, who invited them back to New York to appear in one of his "From Spirituals to Swing" concerts at Carnegie Hall, which was instrumental in introducing jazz and blues to a wider American audience.
Due in part to their appearance at Carnegie Hall, Turner and Johnson scored a major hit with "Roll 'Em Pete". The track contained one of the earliest recorded examples of a back beat. It was a song which Turner recorded many times, with various combinations of musicians, over the ensuing years.
In 1939, along with boogie players Albert Ammons and Meade Lux Lewis, they began a residency at Café Society, a club in New York City, where they appeared on the same bill as Billie Holiday and Frank Newton's band. Besides "Roll 'Em, Pete", Turner's best-known recordings from this period are probably "Cherry Red", "I Want A Little Girl" and "Wee Baby Blues".
In 1941, he headed to Los Angeles where he performed in Duke Ellington's revue Jump for Joy in Hollywood. He appeared as a singing policeman in a sketch called "He's on the Beat." Los Angeles became his home base for a time, and in 1944 he worked in Meade Lux Lewis's Soundies musical films. Although he sang on the soundtrack recordings, he was not present for the filming, and his vocals were mouthed by comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson opened their own bar in Los Angeles, The Blue Moon Club.
Turner made lots of records, not only with Johnson but with the pianists Art Tatum and Sammy Price and with various small jazz ensembles. He recorded on several record labels, particularly National Records, and also appeared with the Count Basie Orchestra. In his career, Turner successively led the transition from big bands to jump blues to rhythm and blues, and finally to rock and roll. Turner was a master of traditional blues verses and at the legendary Kansas City jam sessions he could swap choruses with instrumental soloists for hours.
In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing, he was spotted by Ahmet and Nesuhi Ertegün, who signed him to their new recording company, Atlantic Records. Turner recorded a number of hits for them, including the blues standards, "Chains of Love" and "Sweet Sixteen". Many of his vocals are punctuated with shouts to the band members, as in "Boogie Woogie Country Girl" ("That's a good rockin' band!", "Go ahead, man! Ow! That's just what I need!" ) and "Honey Hush" (he repeatedly sings "Hi-yo, Silver!", probably in reference to The Treniers singing the phrase in their Lone Ranger parody "Ride, Red, Ride"). Turner's records shot to the top of the rhythm-and-blues charts; although they were sometimes so earthy that some radio stations wouldn't play them, the songs received heavy play on jukeboxes and records.
Turner hit it big in 1954 with "Shake, Rattle and Roll", which not only enhanced his career, turning him into a teenage favorite, but also helped to transform popular music. The song is fairly raw, as Turner yells at his woman to "get outa that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses, the sun comes shinin' through!" He sang the number on film in the 1955 theatrical feature Rhythm and Blues Revue.
Although the cover version of the song by Bill Haley and His Comets, with the risqué lyrics incompletely cleaned up, was a bigger hit, many listeners sought out Turner's version and were introduced thereby to the whole world of rhythm and blues. Elvis Presley showed he needed no such introduction. His version of "Shake, Rattle and Roll" combined Turner's lyrics with Haley's arrangement, but was not successful as a single.
In addition to the rock 'n' roll songs, he found time to cut the classic Boss of the Blues album.
After a number of hits in this vein, Turner left popular music behind and returned to his roots as a singer with small jazz combos, recording numerous albums in that style in the 1960s and 1970s. In 1966, Bill Haley helped revive Turner's career by lending him the Comets for a series of popular recordings in Mexico (apparently no one thought of getting the two to record a duet of "Shake, Rattle and Roll", as no such recording has yet surfaced). In 1977 he recorded a version of Guitar Slim's song, "The Things I Used to Do".
In the 1960s and 1970s he was reclaimed by jazz and blues, appearing at many festivals and recording for the impresario Norman Granz's Pablo label, once with his friendly rival, Jimmy Witherspoon. He also worked with the German boogie-woogie pianist Axel Zwingenberger.
It is a mark of his dominance as a singer that he won the Esquire magazine award for male vocalist in 1945, the Melody Maker award for best 'new' vocalist in 1956, and the British Jazz Journal award as top male singer in 1965. His career thus stretched from the bar rooms of Kansas City in the 1920s (at the age of twelve when he performed with a pencilled moustache and his father's hat), on to the European jazz music festivals of the 1980s.
In 1983, only two years before his death, Turner was inducted into the Blues Hall of Fame.
He died in Inglewood, California in November 1985, at the age of 74 of a heart attack, having suffered the earlier effects of arthritis, a stroke and diabetes. Big Joe Turner was posthumously inducted into the Rock and Roll Hall of Fame in 1987.
Tribute
The late, New York Times music critic Robert Palmer, said: "...his voice, pushing like a Count Basie solo, rich and grainy as a section of saxophones, which dominated the room with the sheer sumptuousness of its sound.
Most famous recordings
"Roll 'Em, Pete" - 1938; (available in many versions over the years. Used for the million-dollar first scene in Spike Lee's film, Malcolm X).
"Chains Of Love" - 1951 † (this was Turner's first million seller. The song was written by 'Nugetre' (words) - Ahmet Ertegün, Van Wallis (music), and the disc reached the million by 1954).
"Honey Hush" - 1953 †
"Shake, Rattle and Roll" - 1954
"Flip Flop And Fly" - 1955 † (has sold a million through the years. The song was written by Charles Calhoun and Turner, although credited to the latter's wife, Lou Willie Turner).
"Cherry Red" - 1956
"Corrine, Corrina" - 1956 † (the fourth million seller...with adaption by J. Mayo Williams, Mitchell Parish and Bo Chatmon in 1932. This disc was #41, and spent 10 weeks in the Billboard chart).
"Wee Baby Blues" - 1956; (a song Turner had been singing since his Kingfish Club days)
"Love Roller Coaster" 1956
"Midnight Special" - 1957
Tracks marked as † were million selling discs.
Select discography
Big Joe Rides Again (1956)
The Boss of the Blues (1956)
Bosses of the Blues, Vol. 1 (1969)
Texas Style (1971)
Flip, Flop & Fly (1972)
Life Ain't Easy (1974)
The Trumpet Kings Meet Joe Turner (1974)
I Can't Give You Anything but Love
Big Joe Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's not a joke, kid, it's a curse.
My luck is changing, it's gotten from
simply rotten to something worse
Who knows, some day I will win too.
I'll begin to reach my prime.
Now though I see what our end is,
I can't give you anything but love, baby.
That's the only thing I've plenty of,baby.
Dream awhile, scheme awhile
We're sure to find
Happiness and I guess
All those things you've always pined for.
Gee I'd like to see you looking swell, baby.
Diamond bracelets Woolworth doesn't sell, baby.
Till that lucky day you know darned well, baby.
I can't give you anything but love.
Rome wasn't built in a day, kid.
You have to pay, kid, for what you get.
But I am willing to wait, dear,
Your little mate, dear, will not forget.
You have a lifetime before you.
I'll adore you, come what may.
Please don't be blue for the present,
When it's so pleasant to hear you say
I can't give you anything but love, baby.
That's the only thing I've plenty of,baby.
Dream awhile, scheme awhile
We're sure to find
Happiness and I guess
All those things you've always pined for.
Gee I'd like to see you looking swell, baby.
Diamond bracelets Woolworth doesn't sell, baby.
Till that lucky day you know darned well, baby.
I can't give you anything but love.
The song "I Can’t Give You Anything But Love" by Big Joe Turner is a classic tune that speaks about challenges of living a life without sufficient money. The opening lines of the song introduce the theme in a straightforward but poignant manner: "Gee, but it’s tough to be broke, kid. It’s not a joke, kid, it’s a curse." The singer acknowledges the difficulties that come with a lack of money and it is clear that his feelings are genuine. He mentions that he dreams of winning someday, but in the meantime, the only thing he can offer to his beloved is love.
The song then proceeds to offer reassurance that despite their current situation, the future holds the promise of happiness and success. The singer tells his partner that he is willing to wait and will always adore her. He emphasizes that possessions are not everything in life, and surely things would get better for them eventually. The verse "Dream awhile, scheme awhile, we're sure to find happiness and I guess all those things you've always pined for" shows that he has faith in their future together.
The chorus of the song is catchy, and its melody memorable. Turner declares that the only thing he can give his lover is love, but he does it with such sincerity and conviction that it becomes more than enough. The lines "Gee I'd like to see you looking swell, baby. Diamond bracelets Woolworth doesn't sell, baby. Till that lucky day, you know darned well, baby. I can't give you anything but love," show his unwavering commitment to her despite their social and economic status.
Overall, the song highlights the importance of love, even in the most challenging of circumstances. It teaches us to cherish what we have and to believe in a better tomorrow.
Line by Line Meaning
Gee, but it's tough to be broke, kid.
Being poor is a difficult situation to be in.
It's not a joke, kid, it's a curse.
Being poor is not a laughing matter, it's a misfortune.
My luck is changing, it's gotten from simply rotten to something worse.
My bad luck is getting worse over time.
Who knows, some day I will win too.
Maybe someday, things will turn around for me as well.
I'll begin to reach my prime.
I'll start to see better days.
Now though I see what our end is, All I can spend is just my time.
I realize that we don't have much to look forward to and all I can give is my time.
I can't give you anything but love, baby.
I may not be able to give you material possessions or money, but I can give you love.
That's the only thing I've plenty of,baby.
My love is abundant and overflowing.
Dream awhile, scheme awhile, We're sure to find happiness and I guess All those things you've always pined for.
Let's dream and plan together, and we will eventually find happiness and achieve all the things you desire.
Gee I'd like to see you looking swell, baby.
I would love to see you looking fabulous and happy.
Diamond bracelets Woolworth doesn't sell, baby.
I can't afford to buy you expensive things like diamond bracelets from high-end stores.
Till that lucky day you know darned well, baby.
Until the day when we become lucky and rich, you know that I can't give you anything more than my love.
Rome wasn't built in a day, kid.
Rome wasn't created overnight, it took time to build.
You have to pay, kid, for what you get.
You have to work hard and pay the price to achieve what you want.
But I am willing to wait, dear, Your little mate, dear, will not forget.
I am willing to wait for better days to come, and I promise to not forget about you, my dear partner.
You have a lifetime before you. I'll adore you, come what may.
You have your whole life ahead of you, and I will love and cherish you no matter what happens.
Please don't be blue for the present, When it's so pleasant to hear you say
Don't be sad about our current situation, it's enjoyable just to hear you speak.
I can't give you anything but love, baby.
Once again, I can only offer you my love and devotion.
That's the only thing I've plenty of,baby.
My love is all I have in abundance.
Dream awhile, scheme awhile, We're sure to find happiness and I guess All those things you've always pined for.
Let's keep dreaming and making plans, and surely one day we will find happiness and get everything we've ever wished for.
Gee I'd like to see you looking swell, baby.
I still want to see you happy and well-dressed.
Diamond bracelets Woolworth doesn't sell, baby.
I still can't buy you luxurious items from expensive stores.
Till that lucky day you know darned well, baby.
Until we become successful and lucky, you know very well that I can only give you my love.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Dorothy Fields, Jimmy McHugh
Lyrics Licensed & Provided by LyricFind
dellotti
I just love listening to this kind of music while I'm working on much serious stuff at the 'puter. Been a fan of Big Joe Turner for a long long time. He was the real thing!!!!
george corneliussen
dianasatyr, Big Joe Turner comes from an era where singers literally fought their way to success. Because of this, many of them had a genuine joy in their voices when they were able to perform.
Nick Watts
Great to hear this version.
Bevoin1970
What a great record, simply loved listening to that... :-)
maeviac30
i am divinely in love with everything old jazz,and old blues ..wow, i love love love it.. i love big joe,he is one of my faves.. thnx 4 this,its a treasure and a pleasure!!
boxr4
Thanx, manhatin. Big Joes music from his years at ATLANTIC is not that rare, but, this is a real gem,and in primo condition!Thank you for sharing!
george corneliussen
boxr4, Thank you for stopping by. While I appreciate keeping rare records in as mint condition as possible, I also believe that records sould be heard as well as seen. I'm glad I can share these gems.
george corneliussen
I found this record on the floor of a thrift store years ago. I think I paid a quarter for it. Like finding buried treasure.
Fred Tenzer
Old is gold!
Juan Boucquez
A friend of mine gave me a copy in a casette the album "The midnight Special" (L:A 1976) and Joe sing this song and anothers like " I left my hart...", "I´m gonna sit...." etc. It was the first time that I heard Joe (1995), now, I´m fan of him. Greetings from Argentina Sorry for my English