Will Bradley will always be remembered most for his boogie-woogie orchestra of the early 1940s. Bradley himself, however, preferred to play ballads and had a long and successful career as a trombonist outside of his band. Bradley was a busy studio musician throughout the 1930s, working with such artists as Red Nichols, Eddie Cantor, Victor Young. Jacques Renard, Nat Shilkret, Andre Kostelanetz, Raymond Paige, Kate Smith, and Al Jolson. In 1935 Glenn Miller, who thought Bradley the best trombonist in the business, hired him to play in Ray Noble's American band, which Miller was organizing. He left Noble the following year, however, and returned to studio work. Bradley also played with Milt Shaw's orchestra in 1931, where he met drummer Ray McKinley.
Bradley's name was unknown to the general public when in 1939 William Morris talent agent Willard Alexander suggested he form a swing orchestra. Trombone-playing leaders, such as Miller and Tommy Dorsey, were currently popular, and Alexander felt Bradley would do well on his own. Drummers were also the rage, and Alexander teamed Bradley with old bandmate McKinley, who was then with Jimmy Dorsey. Backed by a powerful publicity campaign the duo's orchestra debuted in 1939 under Bradley's name and soon had its first big hit in ''Celery Stalks.''
The band initially featured pianist Freddie Slack and a young Peanuts Hucko on tenor sax. Trumpeters Lee Castle and Pete Candoli later played with the group. Arrangements were provided by Hugo Winterhalter, Leonard Whitney, and Al Datz. McKinley sang on the more swinging numbers. Other vocalists included Carlotta Dale, Phyllis Miles, Louise Tobin, Larry Southern, and Jimmy Valentine. The group's first recordings were on the Vocalion and Okeh labels. Subsequent releases were on Columbia.
In 1940 Bradley and McKinley began to feature the boogie woogie sound in their arrangements. Initial success with the song ''Beat Me Daddy, Eight to the Bar'' sparked a slew of similar recordings, such as ''Bounce Me Brother, with a Solid Four'' and ''Scrub Me Mama, with a Boogie Beat.'' The new style proved popular with the public, and the band quickly developed a niche following. By early 1942, however, Bradley had tired of boogie-woogie and wanted to focus more on ballads. McKinley disagreed and left to form his own band.
Bradley set about reforming his orchestra but was forced to hang up his baton after only six months due to the war. He lost too many musicians in the draft and was unable to replace them. The new orchestra did not enter the studio. Vocalists were Terry Allen and Lynn Gardner
Bradley continued to record under his own name during the war, using studio musicians, on the Signature label. Ironically, considering the cause of his orchestra's break-up, in 1944 he released material on the Beacon/Celebrity label as Will Bradley and His Boogie Woogie Boys. In 1947 he also recorded with vocalist Anita O'Day on Signature, and in the 1950s he released three albums, which included one RCA collection of boogie woogie songs.
Bradley worked often as a studio musician after the war and spent many years in the Tonight Show orchestra in the Johnny Carson era. In 1953 he had a brief spell with the Sauter-Finegan Band and also composed several classical works in his later years.
The Johnson Rag
Will Bradley Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Mud Black Bottom I got 'em
Lindy Hop Chop chop chop
Ch-ch-ch Charlotte Russe Turn on the juice
Hep Hep there goes the Johnson Rag
Hoy Hoy there goes the latest shag
Ho Ho it really isn't a gag
Jump Jump don't let your left foot drag
Jeep Jeep it's like a game of tag
Juke Juke it's even good for a stag
Jump jump and do the Johnson Rag
If your feelin' in the groove
It sends you out of the world
Funny how it makes you move
I don't wanna coax
But don't be a "Mokes"
Zig Zig Then add a Zig Zig Zag
Zoop Zoop just let your shoulders wag
Zoom Zoom and now it's right in the bag
Get hep And get happy with the Johnson Rag
Hep Hep There goes the Johnson Rag
Hoy Hoy there goes the latest shag
Ho Ho it really isn't a gag
Hep Hep There goes the Johnson Rag
Jump Jump Don't let your left foot drag
Jeep Jeep It's like a game of tag
Juke Juke It's even good for a stag
Jump jump And do the Johnson Rag
If your feelin' in the groove
It sends you out of the world
Funny how it makes you move
I don't wanna coax
But don't be a "Mokes"
Zig Zig then add a Zig Zig Zag
Zoop Zoop just let your shoulders wag
Zoom Zoom and now it's right in the bag
The song "The Johnson Rag" by Will Bradley is an upbeat and jazzy number that describes a dance craze that was popular at the time of its release. The lyrics mention various dance styles such as Lindy Hop and Black Bottom, which were popular in the early 1940s. The song is filled with playful references to different dance moves, encouraging listeners to join in the fun and get on their feet.
The repeated refrain of "Hep Hep there goes the Johnson Rag" serves as a call to action for listeners to join in the dance, while the lines "Funny how it makes you move" and "If you're feeling in the groove, it sends you out of the world" suggest that dancing to the Johnson Rag is not only enjoyable but also something that can transport you to another realm.
Overall, the song is a lighthearted celebration of dance culture, encouraging listeners to let loose and have fun on the dance floor. It's a cheerful and infectious tune that captures the joy and energy of dance.
Line by Line Meaning
Johnson Flood Mississippi
Refers to the Mississippi River flooding causing damage in Johnson City, Mississippi.
Mud Black Bottom, I got 'em
The singer got 'Black Bottom', a dance defined by the heavy stomping of the feet, on account of the mud.
Lindy Hop Chop chop chop
Refers to a popular dance called the 'Lindy Hop', done with rapid swinging of the feet.
Ch-ch-ch Charlotte Russe turn on the juice
The singer calls out for the dance to gain momentum and excitement, like the sweet Charlotte Russe dessert.
Hep hep there goes the Johnson Rag
The singer calls out the name of the dance as it starts.
Hoy Hoy there goes the latest shag
The 'shag' was a dance popular in the 1930s. The singer is referencing how the Johnson Rag is the latest dance craze.
Ho Ho it really isn't a gag
The singer assures that the dance is a legitimate and real thing.
Jump Jump don't let your left foot drag
Advice to dancers to keep hopping energetically with both feet off the ground.
Jeep Jeep it's like a game of tag
The dance is compared to a game of tag, where each dancer tries to keep up with the others.
Juke Juke it's even good for a stag
The dance is good for male-only gatherings ('stag parties').
If your feelin' in the groove, it sends you out of the world
The singer describes how entrancing the dance can be.
Funny how it makes you move
The singer comments on how the dance brings out unexpected movements in the body.
I don't wanna coax, but don't be a "Mokes"
The singer advises not to be hesitant to dance, using the term 'Mokes' to refer to people who don't dance.
Zig Zig then add a Zig Zig Zag
Instructions for a specific footwork pattern used in the dance.
Zoop Zoop just let your shoulders wag
Advice to dancers to keep their shoulders relaxed and loose while dancing.
Zoom Zoom and now it's right in the bag
The singer describes how easy and successful the dance becomes once everyone gets into it.
Get hep and get happy with the Johnson Rag
The singer encourages the audience to embrace the dance and enjoy it.
Lyrics ยฉ BMG Rights Management, Universal Music Publishing Group
Written by: GUY HALL, HENRY KLEINKAUF
Lyrics Licensed & Provided by LyricFind