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)
Lipstick Powder and Paint
Big Joe Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lipstick, powder and paint
Lipstick, powder and paint
Is you is or is you ain't
There goes my babe up a tree
Gigglin' and wigglin' her toes at me
Let me put my glasses on
Lipstick, powder and paint
Lipstick, powder and paint
Lipstick, powder and paint
Is you is or is you ain't
Hound dogs scratchin' fleas
Lookin' like she's in love with me
Licks my hand everywhere I go
I wish my baby loved me so
Lipstick, powder and paint
Lipstick, powder and paint
Lipstick, powder and paint
Now is you is or is you ain't
A lipstick, a lipstick, powder and paint
A lipstick, a lipstick, powder and paint
Powder and paint
Taller than the barnyard, ten feet high
Hide me till your man pass by
Don't you sneeze and don't you cough
If you get dusty I'll brush you off
Lipstick, powder and paint
Lipstick, powder and paint
Lipstick, powder and paint
Is you is or is you ain't
What kind of love is that you make
The world starts a-tremblin' and the buildings shake
Love me and hug me once again
Let the roof and the walls come tumblin' in
Lipstick, powder and paint
Lipstick, powder and paint
Lipstick, powder and paint
Is you is or is you ain't
The lyrics to Big Joe Turner's "Lipstick Powder and Paint" may seem nonsensical at first glance, but upon closer examination, they reveal a playful and flirtatious back and forth between the singer and his lover. The repeated refrain of "lipstick, powder and paint, is you is or is you ain't" serves as a sort of call and response, with the singer teasingly questioning his lover's affection.
The verses themselves are filled with vivid imagery - the sight of his lover up a tree, the sensation of his dog's tongue on his hand - all of which suggest a joyous, carefree atmosphere. The final verse, with its suggestion to "let the roof and the walls come tumbling in," seems to suggest that this love is so all-consuming that nothing else matters.
Overall, "Lipstick Powder and Paint" is a charming ode to young love, capturing the sense of playfulness and excitement that comes with a new relationship.
Line by Line Meaning
Lipstick, powder and paint
The singer is describing a woman who is made up with makeup like lipstick, powder, and paint.
Lipstick, powder and paint
The singer is once again describing the woman's makeup, as if it's a notable feature.
Lipstick, powder and paint
The phrase is reiterated once more, it's a theme throughout the song.
Is you is or is you ain't
The artist inquires about the presence or availability of the woman, asking if she is there or not.
There goes my babe up a tree
The woman is climbing up a tree and the artist is watching her do so.
Gigglin' and wigglin' her toes at me
The woman is being playful and teasing the singer by wiggling her toes.
Let me put my glasses on
The singer is putting on glasses in order to improve their vision and better see the woman.
I had such fun since she's been gone
The artist is enjoying themselves and has had a good time since the woman left.
Hound dogs scratchin' fleas
The artist is comparing the way the dogs are acting to the woman being in love with them.
Lookin' like she's in love with me
The artist believes that the woman's behavior is reminiscent of someone who is in love.
Licks my hand everywhere I go
A dog is following the singer and offering affection as they move around.
I wish my baby loved me so
The artist is envious of the way the dog shows affection and wishes their partner would show them the same amount of love.
Now is you is or is you ain't
The question of whether the woman is present or available is repeated once again, in a slightly different way.
A lipstick, a lipstick, powder and paint
The song repeats the description of the woman's makeup once more.
Powder and paint
The description of the woman's makeup is reiterated again, the focus being on the powder and paint this time.
Taller than the barnyard, ten feet high
The artist is describing the woman as being tall, emphasizing how striking her appearance is.
Hide me till your man pass by
The artist is asking the woman to hide them from her partner so as not to cause any issues with them being together.
Don't you sneeze and don't you cough
The singer is asking the woman to remain silent and motionless so as not to draw attention to their hiding place.
If you get dusty I'll brush you off
The singer offers to help clean the woman if they get dusty while hiding.
What kind of love is that you make
The artist is questioning the quality of the love the woman is offering them, seemingly in a disappointed or frustrated tone.
The world starts a-tremblin' and the buildings shake
The artist is describing the power and intensity of their love, as if it's capable of causing earthquakes and other natural disasters.
Love me and hug me once again
The artist is expressing a desire for the woman to love and embrace them again, as they have in the past.
Let the roof and the walls come tumblin' in
The singer is suggesting that if the woman were to embrace them with the same love as before, even the building would be affected by their passion.
Contributed by Adalyn B. Suggest a correction in the comments below.
@stevehughes1510
'53 is the year I was born.........good ole Joe Turner..........he and Big Moma Thornton..........classic songs.........thanks for posting Heath.
@johne1599
Just heard this song again on
"Uncle Buck"
RIP John Candy, Joe Turner
@josephkane1436
A Real Gem Of A Hit Single from Big Joe Turner as it is Called Lipstick And Paint as it gave him a Huge No 1 Hit single on the Billboard R&B singles chart in 1953
@josephkane8103
Another Timeless Classic Rock & Roll Hit Single from Big Joe Turner from 1951
@josephkane4753
Just A Timeless Classic hit single from Big Joe Turner as it is Called Lipstick Powder & Paint as it came out around 1953
@CiscoDuck
July 1956
@johnmckale1779
“You got a game goin somewhere Pal? You’re not gonna get any strikes sitting there are ya!”
@seanstables1881
Hey buck where you been
@miriamaznarmartinez7889
Great music great years forever
@dichtgetijden
Sheezz.... I only knew this song from Shakin' Stevens... Cool to hear the original