Ain't Nobody's Business
Showing recordings 1-3 that were created in 2007 for the song "Ain't Nobody's Business" by Hank Williams Jr.. The recordings are sorted by date. Click the year links to view recordings for a different year.
In the Style of Hank Williams Jr.
152 views 31 comments
This song is for the <a href="http://www.singsnap.com/snap/forum/topic/a9194f0">Everyone's A Winner Sing Through The Years Challenge/Showcase Thingy XXII</a> Come join us! No judging. Just singers sharing songs with other singers. This song was written/published by Porter Grainger in 1922 and recorded by Bessie Smith in 1923. Very little is known about pianist Porter Grainger despite the fact that he appeared on many records in the 1920's, mostly backing blues and vaudeville singers. Not considered that great a pianist, Grainger's main fame during his lifetime was as a composer for musical shows. He was playing music professionally at least as early as 1916 and in the 1920's wrote for several shows. Grainger was Bessie Smith's accompanist in the 1928 production Mississippi Days and recorded with her in addition to Gladys Bryant, Ethel Finnie, Dolly Ross, Clint Jones, Ada Brown, Buddy Christian's Four Cry-Babies and the Harmony Hounds among others. Grainger's own two sessions as a leader found him backing either the "Three Jazz Songsters" or the "Jubilee Singers" so there is precious little of him on record. After the close of the 1920's, Porter Grainger slipped permanently into obscurity; even his birth and death dates are not known. A 1996 RST CD has many of Grainger's main recordings. ~ Scott Yanow, All Music Guide Smith, Bessie (1894–1937), blues singer. Bessie Smith began her performance career as a dancer with a traveling minstrel troupe. Her vocal talents were quickly recognized, and by the age of nineteen she had begun to establish her reputation as one of the foremost blues singers of her day. By the time she recorded her first record with Columbia Records in 1923, she was an established star on the southern vaudeyille circuit. Smith became known as Empress of the Blues because of her incredible voice, sexually aggressive lyrics, fierce independence, and glamour. These qualities have also endeared her to generations of African American poets, novelists, and critics, particularly black feminists. Literary interpretations of her life and work range from portrayals of a genius victim of American racism to portrayals of a protofeminist icon, an alternative to the fair upper-middle-class heroines of early black women novelists. For Amiri Baraka's Clay (from Dutchman, 1964), Bessie Smith is the quintessential wearer of the mask, saying “Kiss my ass, kiss my black unruly ass.” According to Clay, “If Bessie Smith had killed some white people she wouldn't have needed that music.” In contrast, the Smith of Sherley Anne Williams's “Someone Sweet Angel Chile” emerges as a woman who triumphs through her ability to make music and sing the song of her own personal life as well as the collective song of black people. Recently, Smith has been identified by African American feminist critics as an important foremother for black women writers, who celebrate her independence and forthright attitudes about race and sexuality. Many people believe she was bisexual. Bessie Smith version not here so this is what we got.