Sugar In My Bowl

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(Pictured: Dinah Washington.)

(This is a remarkably old repeat. I have updated it with YouTube links to some of the songs mentioned, because YouTube didn’t exist when this post originally appeared here, back on January 3, 2005. I have revised it a little, too.)

Our current guardians of virtue would have you believe that before those damn hippie kids screwed everything up in the 1960s, American pop culture was largely benign. But there’s never been a time when nothing unfit for either your grandma or your eight-year-old niece ever crept into public consciousness. Cliff Edwards, a star of the 20s and 30s known as Ukulele Ike, recorded such tunes as “I’m a Bear in a Lady’s Boudoir” and “I’m Going to Give it to Mary With Love.” Edwards and other white artists recorded such material with a wink and a nudge, as euphemistic as Seinfeld‘s “master of your domain.” In the blues and R&B fields, performers were often far more blunt. Songs dealing with a lot more than mere sexual innuendo were common, as was a more rough-and-tough style.

Certain songs from the genre sometimes known as “dirty blues” are better known by title than by any specific performance, such as “It Ain’t the Meat, It’s the Motion,” and “If It Don’t Fit, Don’t Force It.” A performer such as Bo Carter could make a career out of records like “My Pencil Won’t Write No More,” “Banana in Your Fruit Basket,” and “Please Warm My Weiner.” Women did the dirty too, such as Lil Johnson with “Press My Button, Ring My Bell,” Julia Lee with “King Size Papa” and “My Man Stands Out,” and Lucille Bogan with “Shave ‘Em Dry.” In a genre all about envelope-pushing, “Shave ‘Em Dry” was considered too far out for a long time–it remained unreleased for over 30 years, until the 1970s. It’s not safe for work even today.

Better-known blues and R&B artists also recorded material we’d rate as PG or R, like Bessie Smith’s “I Want Some Sugar in My Bowl” or Alberta Hunter’s “You Can’t Tell the Difference After Dark.” Wynonie Harris recorded “Keep On Churnin’ (Til the Butter Comes),” Dinah Washington waxed “Big Long Slidin’ Thing,” and Memphis Slim once recorded a song called “If You See Kay.” Most such records were underground hits—the musical equivalent of Playboy magazines under the mattress—but a few reached a mass audience: “Sixty Minute Man” by the Dominoes, for example, and “Work With Me Annie” by Hank Ballard and the Midnighters.

If a listener’s taste ran to songs about homosexuality, they were out there, too—like Kokomo Arnold’s “Sissy Man Blues” (“Lord if you can’t bring me no woman / Send me some sissy man”). Drugs? How about Cab Calloway’s “Minnie the Moocher”—what could she be mooching, I wonder?—or the fairly well-known novelty “Who Put the Benzedrine in Mrs. Murphy’s Ovaltine”?

Outside the blues and R&B fields, if you dig into your father’s or grandfather’s vinyl albums, you might find some nightclub recordings by Rusty Warren or Ruth Wallis. They were more suggestive than obscene, and what made them seem so risque was Warren and Wallis’ frequent use of the word “boobs.” (Warren’s most famous tune is probably “Bounce Your Boobies,” which occasionally surfaced on the Dr. Demento radio show). They sound fairly tame now, but they were hot stuff for adults only in the 1950s and early 60s.

Yep, wherever there have been human beings and live microphones, sooner or later there have been songs sold in plain brown wrappers. A fabulous essay on “dirty blues” is here. Another about drug-related blues songs is here.

One response

  1. as a 15-year-old male my pals and I sure got a charge out of Aerosmith’s cover of “Big Ten Inch (Record)” but from today’s view it’s the one song that keeps “Toys in the Attic” from being a perfect album.

    And April Wine had their own “If You See Kay” in ’82.

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