Big Joe Turner (Joseph Vernon Turner Jr., Kansas City, Missouri, May 18, 19… Read Full Bio ↴Big Joe Turner (Joseph Vernon Turner Jr., Kansas City, Missouri, May 18, 1911 – Inglewood, California, November 24, 1985) was an American blues shouter.
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)
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)
Turner. Flip Flop & Fly
Big Joe Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Now when I get the blues, I get me a rockin' chair
When I get the blues, I get me a rockin' chair
Well, if the blues overtake me gonna rock right away from here
Now when I get lonesome, I jump on the telephone
When I get lonesome, I jump on the telephone
I call my baby, tell her I'm on my way back home
Now flip, flop and fly
I don't care if I die
Now flip, flop and fly
I don't care if I die
Don't ever leave me, don't ever say goodbye
Give me one more kiss, hold it a long long time
Give me one more kiss, hold it a long long time
Now love me baby, till the feelin' hits my head like wine
Here comes my baby, flashin' her new gold tooth
Here comes my baby, flashin' her new gold tooth
Well she's so small, she can mambo in a pay phone booth
Now flip, flop and fly
I don't care if I die
Now flip, flop and fly
I don't care if I die
Ah, don't ever leave me, don't ever say goodbye
I'm like a Mississippi bullfrog, sittin' on a hollow stump
I'm like a Mississippi bullfrog, sittin' on a hollow stump
I got so many women, I don't know which way to jump
Now flip, flop and fly
I don't care if I die
Now flip, flop and fly
I don't care if I die
Now, don't ever leave me, don't ever say goodbye
Oh my!
When I get the blues, I get me a rockin' chair
Well, if the blues overtake me gonna rock right away from here
Now when I get lonesome, I jump on the telephone
When I get lonesome, I jump on the telephone
I call my baby, tell her I'm on my way back home
I don't care if I die
Now flip, flop and fly
I don't care if I die
Don't ever leave me, don't ever say goodbye
Give me one more kiss, hold it a long long time
Give me one more kiss, hold it a long long time
Now love me baby, till the feelin' hits my head like wine
Here comes my baby, flashin' her new gold tooth
Here comes my baby, flashin' her new gold tooth
Well she's so small, she can mambo in a pay phone booth
Now flip, flop and fly
I don't care if I die
Now flip, flop and fly
I don't care if I die
Ah, don't ever leave me, don't ever say goodbye
I'm like a Mississippi bullfrog, sittin' on a hollow stump
I'm like a Mississippi bullfrog, sittin' on a hollow stump
I got so many women, I don't know which way to jump
Now flip, flop and fly
I don't care if I die
Now flip, flop and fly
I don't care if I die
Now, don't ever leave me, don't ever say goodbye
Oh my!
The lyrics to Big Joe Turner & His Blues Kings's song Flip Flop And Fly depict a man who has found ways to cope with his blues and loneliness. He shares that when he feels down, he retreats to his rockin' chair and rocks away from his problems. When he feels lonely, he calls his lover to come home to him. The chorus of the song, "Flip, flop and fly, I don't care if I die, don't ever leave me, don't ever say goodbye," shows a man who will do whatever it takes, including risking his life, to keep his lover by his side. He asks for one last long kiss before declaring his love for her and hoping to feel intoxicated by it.
Line by Line Meaning
Now when I get the blues, I get me a rockin' chair
When I'm feeling down, I like to sit and rock back and forth in my chair to ease my pain.
Well, if the blues overtake me gonna rock right away from here
If my sadness becomes too much to handle, I'll leave and go somewhere else to feel better.
Now when I get lonesome, I jump on the telephone
When I'm feeling lonely, I call my significant other to feel less alone.
I call my baby, tell her I'm on my way back home
I call my significant other and let them know that I'm coming home to be with them.
Now flip, flop and fly
I'm feeling so free and wild!
I don't care if I die
I'm going to live in the moment and not worry about the future.
Don't ever leave me, don't ever say goodbye
I'm afraid of being alone, so I'm begging my significant other to never leave me.
Give me one more kiss, hold it a long long time
I'm asking my significant other for one last long kiss before I leave.
Now love me baby, till the feelin' hits my head like wine
I want my significant other to love me until the overwhelming feeling of love overcomes me.
Here comes my baby, flashin' her new gold tooth
My significant other is approaching and showing off their new gold tooth.
Well she's so small, she can mambo in a pay phone booth
My significant other is so petite that they could dance the Mambo in a phone booth.
I'm like a mississippi bullfrog, sittin' on a hollow stump
I'm a man with an abundance of women in my life, but I can't decide which one to be with.
Now, don't ever leave me, don't ever say goodbye
Once again, I'm pleading with my significant other to stay with me forever.
Oh my!
I'm overwhelmed with emotions!
Lyrics © Warner/Chappell Music, Inc.
Written by: CHARLES E. CALHOUN, LOU WILLIE TURNER
Lyrics Licensed & Provided by LyricFind
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@sauquoit13456
On this day in 1955 {May 5th} Big Joe Turner's "Flip, Flop and Fly"* peaked at #2 {for 1 week} on two different Billboard national charts, 'Most-Played R&B Records on Juke Boxes' and 'Most-Played R&B Records By Jockeys', on the 'Jockey' chart "Wallflower" by Etta James was in the #1 position while on the 'Juke Boxes' chart it was "My Babe" by Little Walter in the top spot. In addition, on the 'Juke Boxes' chart "Flip, Flop and Fly" was tied at #2 with "Bo Diddley" by Bo Diddley...
Between 1945 and 1958 the Kansas City, Missouri native had twenty charted records on the R&B charts, seventeen made the Top 10 with two reaching #1, "Honey Hush" for eight weeks in December of 1953 and "Shake, Rattle, and Roll" for three weeks in June of 1954...
Big Joe Turner, born Joseph Vernon Turner Jr., passed away at the age of 74 on November 24th, 1985...
May he R.I.P.
* "Flip, Flop and Fly" was Big Joe Turner's second of this of his three records to peak at #2, his other two #2 records were "Chains of Love" in 1951 and "Corrine, Corrine" in 1956...
And from the 'For What It's Worth' department, the remainder of the Most-Played On Juke Boxes' Top 10 on May 5th, 1955:
At #4. "Pledging My Love" by Johnny Ace
#4. "Unchained Melody" by Roy Hamilton
#6. "I've Got A Woman" by Ray Charles
#7. "What'Cha Gonna Do?" by the Drifters
#7. "Unchained Melody" by Al Nibbler
#9. "You Don't Have To Go" by Jimmy Reed
#10. "Blop Ting A Ling"/"That's All I Need" by LaVern Baker
@christopherrutherford3404
Hi a fantastic record ❤,I only discovered in 2023 watching a repeat of the Jools Holland Show ,Tom Jones sang it & name checked Big Joe Turner, ....thank you Tom Jones
@Londonfogey
I just love that period in the early 50s when swing, jazz, country and blues were all on a collision course, just before they exploded into rock 'n' roll.
@darlahaines6928
Wonderful stuff!
@johnpatterson4816
True.Contrary to popular belief,Elvis didn't invent Rock&Roll.
Sam Phillips was a great producer who essentially caught lightning in a bottle.
Personally I liked Johnny Cash better than Elvis.
@rommix0
Sees dancing chickens.
"Those chickens are up to something!"
@JohnSmith47534
''I told you they were organized''
@dtaylor4552
"Mr Tweedy!! I may have come up with the answer to make some real capital in these parts, and whats on your mind? Ludicrous notions of escaping chickens!!!!"
@Mustanglover66
Who is listening to this great song By Big Joe Turner in 2020? :)
@nurimajeed8595
I am....love it!!!
@anisja100
Me here in Switzerland .