ETTA JAMES * ROLL WITH ME HENRY *
ROLL WITH ME, HENRY, pegó muy fuerte . Se lanzó alrededor del día de acción de gracias de 1953, fué el número dos en las listas de éxitos de Billboard de R&B a principios de 1954. La canción todavía mueve a la gente casi cincuenta años más tarde. Arranca con la voz áspera de un hombre que grita, después entra un piano Boogie Woogie y una línea de bajo que se incorpora suavemente y luego, el chillido de una chica, " Hey " , antes de la arremetida de ETTA, con su voz de quinceañera cargada de la energía de todos sus años de experiencia " You Got to roll with me, Henry, you better roll it while the rollin' is on " ( Revuélcate conmigo , . Henry, y más te vale hacerlo con el ritmo caliente ) The Peaches entraban con un aaauuuuhh, el mismo que se oyó catorce años más tarde en " Natural Woman" de ARETHA FRANKLIN.
Aunque la canción original de Ballard " Work with me , Annie " , era conocida por sus referencias sexuales ( tanto como su consecutivo éxito de 1957 , " The Twist" , que más tarde hizo popular Chubby Checker ) , James insistió en que la cancion de Etta trataba sobre bailar : " Sólo que el término roll ( en argot follar ) tenía unas referencias sexuales que los mojigatos no soportaban . De acuerdo , podía insinuarlo; de hecho ,la voz dulce pero áspera de James prometía muchas otras cosas aparte de bailar . Fuese cual fuese el tema de la canción algunas emisoras de radio se negaron a ponerla debido a sus connotaciones sexuales y no tardó en cambiar su título por el de The Wallflower aludiendo a la aparente reticencia de Henry a bailar y siendo al mismo tiempo un título inofensivo que permitía a las emisiones radiofónicas volver a poner el disco . La joven ETTA JAMES ,como la llamaban , tuvo un éxito impresionante.
Buzzy Jackson / Disfruta de mi si te atreves.
Aquí teneis como empezó todo ..............................
Work with Me, Annie
"Work with Me, Annie" is a 12-bar blues song with words and music by Hank Ballard. It was recorded by Hank Ballard & the Midnighters (formerly The Royals) in Cincinnati on the Federal Records label on January 14, 1954, and released the following month. The Federal Communications Commission (FCC) immediately opposed it due to its overtly sexual lyrics, lyrics that had crossed over and were now being listened to by a white teenage audience. Because the record was in such demand and received so much publicity, attempts to restrict it failed and the record shot to number one on the R&B charts and remained there for seven weeks.
This was the first of the "Annie" records and sold a million copies. So did the answer songs "Annie Had A Baby" and "Annie's Aunt Fannie." They all were banned for radio play by the FCC. The success of these recordings spurred the practice of recording double entendre records and answer songs. Another answer, "The Wallflower", by Etta James, popularly known as "Roll with Me, Henry", was reworded by Georgia Gibbs as "Dance with Me, Henry" for Top 40 consumption. It had the same melody as "Work with Me, Annie". The melody was recycled again by the Midnighters for the song "Henry's Got Flat Feet (Can't Dance No More)".
The song "Work with Me, Annie" is part of the Rock and Roll Hall of Fame's "The Songs That Shaped Rock and Roll" list.
Hank Ballard had been a fan of "Sixty Minute Man" recorded by The Dominoes, a song so explicitly dirty that only a rhythm and blues label would take it. When he got the chance he wrote his own bawdy tune. With its strong melody and distinctive rhythm, the song's structure anticipated the style of rock and roll and was flexible enough that later it could be used with entirely different words.
The "Annie" lyrics were extremely sexually explicit for the period:
"Annie, please don't cheat. Give me all my meat."
And the punchline:
"Let's get it while the getting is good."
Hank Ballard's baritone and excited squeals backed by the group's 'ah-oom' were accompanied by a boogie piano, a driving electric guitar and a booming electric bass. "Work With Me, Annie" defined what was to become Rock 'n' Roll.
Aquí teneis como empezó todo ..............................
Work with Me, Annie
"Work with Me, Annie" is a 12-bar blues song with words and music by Hank Ballard. It was recorded by Hank Ballard & the Midnighters (formerly The Royals) in Cincinnati on the Federal Records label on January 14, 1954, and released the following month. The Federal Communications Commission (FCC) immediately opposed it due to its overtly sexual lyrics, lyrics that had crossed over and were now being listened to by a white teenage audience. Because the record was in such demand and received so much publicity, attempts to restrict it failed and the record shot to number one on the R&B charts and remained there for seven weeks.
This was the first of the "Annie" records and sold a million copies. So did the answer songs "Annie Had A Baby" and "Annie's Aunt Fannie." They all were banned for radio play by the FCC. The success of these recordings spurred the practice of recording double entendre records and answer songs. Another answer, "The Wallflower", by Etta James, popularly known as "Roll with Me, Henry", was reworded by Georgia Gibbs as "Dance with Me, Henry" for Top 40 consumption. It had the same melody as "Work with Me, Annie". The melody was recycled again by the Midnighters for the song "Henry's Got Flat Feet (Can't Dance No More)".
The song "Work with Me, Annie" is part of the Rock and Roll Hall of Fame's "The Songs That Shaped Rock and Roll" list.
Hank Ballard had been a fan of "Sixty Minute Man" recorded by The Dominoes, a song so explicitly dirty that only a rhythm and blues label would take it. When he got the chance he wrote his own bawdy tune. With its strong melody and distinctive rhythm, the song's structure anticipated the style of rock and roll and was flexible enough that later it could be used with entirely different words.
The "Annie" lyrics were extremely sexually explicit for the period:
"Annie, please don't cheat. Give me all my meat."
And the punchline:
"Let's get it while the getting is good."
Hank Ballard's baritone and excited squeals backed by the group's 'ah-oom' were accompanied by a boogie piano, a driving electric guitar and a booming electric bass. "Work With Me, Annie" defined what was to become Rock 'n' Roll.
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