MERLINE JOHNSON " THE YAS YAS GIRL "

                 

Merline Johnson (born c. 1912 or 1918,date of death unknown) was an African-American blues singer in the 1930s and 1940s, billed as "The Yas Yas Girl". Yas yas was a euphemism for ass in hokum blues songs, such as Blind Boy Fuller's "Get Yer Yas Yas Out"  (*)

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'Get Yer Ya-Ya's Out!': The Rolling Stones in Concert fue lanzado en septiembre de 1970, bien entradas las sesiones de su siguiente álbum de estudio, Sticky Fingers, fue muy bien recibido por la crítica y en ventas, trepando al número 1 en el Reino Unido1 y al 6 en Estados Unidos,[cita requerida] donde se transformó en disco de platino. Exceptuando discos recopilatorios, este fue el último disco de los Stones en lanzarse con la disquera Decca Records en el Reino Unido y con London Records en Estados Unidos antes de lanzar su propio sello Rolling Stones Records.


El título del álbum fue adoptado de la canción "Get Yer Yas Yas Out" de Blind Boy Fuller. La frase utilizada en la canción de Fuller es "get your yas yas out the door".


  And Tampa Red's "The Duck's Yas-Yas-Yas".

Little is known of her life. It is generally believed that she was born in Mississippi.though the blues researchers Bob Eagle and Eric LeBlanc suggest that she may have been born Merline Baker in Callaway County, Missouri. She was reportedly the aunt of the rhythm-and-blues singer LaVern Baker.

Johnson first recorded in Chicago in 1937. One early song was "Sold It to the Devil". Over the next four years she recorded over 90 songs, including "Don't You Make Me High", "I'd Rather Be Drunk", and "Love with a Feeling". She recorded a few risqué songs.

Her speciality was a variety of juke joint blues, with songs such as "Drinking My Blues Away" and "I Just Keep on Drinking", delivered in a tough, unlovable voice. She was backed on many of her recordings by top blues and jazz musicians, including Big Bill Broonzy, Lonnie Johnson, Blind John Davis, Buster Bennett, and Punch Miller. Her final recordings, not issued at the time, were cut in 1947. Many of her recordings are included on later blues compilations. Details of her later life are unknown.

                             

Noten ustedes .... aquí ni double talk. ni cuentos raros....... directamente !!

                                 

Don't you feel my leg
Don't you feel my leg
'Cause if you feel my leg
You'll want to feel my thigh
And if you feel my thigh
You'll wanna go up high
So don't you feel my leg

Don't you buy no rye
Don't you buy no rye
'Cause if you buy me some rye
You gonna make me high
And if you make me high
You'll gonna tell a lie
So don't make me high

You said you'd take me out
And treat me fine
But I know there's something
You got on your mind
If you keep drinking
You're gonna get fresh
And you wind up asking
For this fine brown flesh

Don't you feel my leg
Don't you feel my leg
'Cause if you feel my leg
You'll want to feel my thigh
And if you feel my thigh
You'll wanna go up high
So don't you feel my leg

Don't you feel my leg
Don't you feel my leg
'Cause if you feel my leg
You'll want to feel my thigh
And if you feel my thigh
You'll wanna go up high
So don't you feel my leg

Artist Biography by arwulf arwulf in  allmusic 

During the late '30s, one Chicago-based blues woman cut more records than either Memphis Minnie or Georgia White, and even edged in on Blue Lu Barker with a smart cover of her most famous hit, "Don't You Make Me High." The aunt of R&B vocalist LaVern Baker, Merline Johnson was usually billed as the Yas Yas Girl, a bawdy nickname that utilized a favorite early blues euphemism for your butt. Little is known of this singer's origins, her life during a brief but productive heyday, or her eventual fate.

Legend has it she first saw the light of day somewhere in the state of Mississippi during the year 1912. After making her way to Chicago, she established herself as a sanguine, straightforward blues vocalist whose backup bands were often peppered with seasoned jazz musicians who were capable of swinging hard when necessary, and sometimes launched into full-strength boogie-woogie. After cutting six sides as Merline Johnson for Bluebird in May 1937, she commenced recording for the American Record Corporation a few weeks later as the Yas Yas Girl, already demonstrating an innate ability to put across blues and jazzy dance tunes convincingly, with a combination of honesty and warmth that is still very effective.

Between 1938 and 1941 Merline Johnson waxed more than 50 titles for Vocalion and OKeh, covering the standard topical range of Chicago blues. She sang of passionate and at times turbulent interpersonal relationships, of unencumbered sexuality, and of unapologetic alcohol consumption. Her accompanists, drawn from a pool of experts from New Orleans and Chicago, included trumpeters Punch Miller and Lee Collins; saxophonists Buster Bennett and Bill Owsley; guitarists Big Bill Broonzy, George Barnes, and Lonnie Johnson; Vocalion's resident steel guitarist Casey Bill Weldon; pianists Blind John Davis, Black Bob Hudson, and Aletha Robinson; string bassists Ransom Knowling and Bill Settles; an interesting character named Alfred Elkins who carried a bassline really well using only his voice; and a rock-solid drummer by the name of Fred Williams.

Aside from one final session in 1947, most of this woman's recorded legacy dates from the years and months prior to the U.S.A.'s direct involvement in the Second World War. During the 1990s the Vienna-based Document label set out to reissue her complete works in four volumes. Unfortunately, the last installment seems never to have materialized, leaving a conspicuous gap in the Document catalog and a frustrating ellipsis where anyone studying her life and works would expect to be able to listen in on and read about her last years as a recording artist. Although a smattering of her later work was included in a Yas Yas Girl sampler released by Wolf Records in 1989, a comprehensive compilation of every recording ever made by Merline Johnson has yet to materialize.