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STUDIO SESSION FOR JOE HILL LOUIS
AT THE MEMPHIS RECORDING SERVICE FOR MODERN RECORDS 1950 
 
MEMPHIS RECORDING SERVICE
706 UNION AVENUE, MEMPHIS, TENNESSEE
STUDIO SESSION: MONDAY NOVEMBER 27, 1950
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS
 
01 – ''BOOGIE IN THE PARK'' – B.M.I. - 2:46
Composer: - Joe Hill Louis-Sam Phillips
Publisher: - BMG Music Publisher Limited
Matrix number: - MM 1492 Take 1
Recorded: - November 27, 1950 - Remake
Released: - 1951
First appearance: - Modern Records (S) 78rpm Modern 813-A mono
BOOGIE IN THE PARK / COLD CHILLS
Reissued: - 2001 Ace Records (CD) 500/200rpm CDCHD 803 mono
BOOGIE IN THE PARK 
 
''Boogie In The Park'' the follow-up record, stayed in what might be called the classic one-man-band styling while the reverse side, John Lee (Sonny Boy) Williamson's ''Cold Chills'', is the first and one of the best of his slow guitar dominated blues. Other similarly fine performances include Saint Louis Jimmy's ''Going Down Slow'' and an alternate take of ''Street Walkin' Woman'' (the acetate of the original 78 is irreparably damaged).
02(1) – ''COLD CHILLS'' – B.M.I. - 2:35
Composer: - John Lee Williamson
Publisher: - Wabash Music Corporation
Matrix number: - MM 1493 Take 3
Recorded: - November 27, 1950
Released: - 1951
First appearance: - Modern Records (S) 78rpm Modern 813-B mono
COLD CHILLS / BOOGIE IN THE PARK
Reissued: - 2001 Ace Records (CD) 500/200rpm CDCHD 803 mono
BOOGIE IN THE PARK
 
Sam Phillips has always had the ability and the willingness to persist with an artist that had the innate talent that he was looking for. He worked hard and long with a promising artist and the Louis takes selected for original release are routinely superior to the others. Joe was not an easy musician to work with, frequently  unprepared and sometimes careless. In the sessions that followed, he tended to move toward an emphasis on the guitar as a lead instrument. The harmonica is more often used for fills, sometimes quite erratically. Joe could pick a fine guitar but could just as soon go quite out of tune, which made him unreliable as a sideman.
02(2) -''COLD CHILLS'' – B.M.I. - 3:28
Composer: - John Lee Williamson
Publisher: - Wabash Music Corporation
Matrix number: - MM 1493 Alternate Take -  Not Originally Issued
Recorded: - November 27, 1950
Released: - 1973
First appearance: - Polydor Records (LP) 33rpm LP 2383-214-2 mono
BLUE IN THE MORNING
Reissued: - 2008 JSP Records Internet iTunes MP3-13 mono
JOE HILL LOUIS - KING OF THE ONE MAN BANDS
 
Name (Or. No. Of Instruments)
Joe Hill Louis – Vocal, Harmonica, Guitar, Hi-Hat, Bass, Drums
Ford Nelson - Piano
 
© - 706 UNION AVENUE SESSIONS - ®
JOE HILL LOUIS - Also known as "Chicago Sunny Boy", "Johnny Lewis", "Little Joe", Joe was   born Lester (or possibly Leslie) Hill, September 23, 1921, one of four children (3 boys and a   girl) in Froggy Bottom, out from Grant's Corner, near where Whitehaven, Tennessee is now,   just a few miles south of Memphis, and lived there until about a year after his mother died. His father was Robert Hill and his mother was Mary Wilson.  Joe Hill Louis learned some harmonica and the guitar from Will Shade in his youth in the   early 1930s. 
 
At the age of 14, after frequent beating by his step-mother, he ran away from   home to work outside the music with frequent work in streets and dives in Robinsonville,   Mississippi area from circa 1935, and fell in with Billy and Drew Canale, the younger   members of a well-to-do Memphis family.
 
The Canales cook welcomed the responsibility of   looking after the young lad and he continued to live with and work for the Canales in one   household position after another for the rest of his short life. Early in his lifelong stay with the Canales he was put up to fighting a local ruffian named   "Prince Henry" and came out the better, a victory which inspired the Canale boys to name   him after the then heavyweight champ. Hence the moniker which was to serve him well and   stick with him to the end.
 
Joe Hill Louis' natural musical aptitude was first manifest itself upon the jew's harp, which   eventually was replaced by the harmonica, his primary and dominant instrument. The guitar   and drums were added in the course of time but not without a great deal of ear-shattering   displeasure from the Canales and their friends. At first, of course, his manipulation of the   three was very uncoordinated, but he eventually got it all together to the amazement of his friends and the consternation of would-be accompanying guitarists and drummers. Rufus   Thomas, the well-known record star and disc jockey reported that Joe was envied by many   local musicians for his ability to earn the same amount of money that it would have taken   three or four other musicians of singular talents to make. Joe could make all that money by   himself; he didn't need anyone else.
 
Joe Hill Louis worked outside the music at the Peabody Hotel in Memphis, Tennessee in the   late 1930s and frequently worked with Eddie Taylor, Willie Borum, Will Shade, Lockhart Hill   and others in gambling houses, the streets in Memphis and West Memphis, Arkansas area and   frequently worked as one man band in Memphis, Tennessee. He also frequently hoboed   through the Tennessee, Arkansas and Mississippi on working in dances, suppers, ballgame intermissions in the late 1940s into the early 1950s. He recorded for Columbia Records in   New York City in 1949.
 
He through his appearances on street corners and in Handy Park in Memphis and in juke   joints and roadhouses in the surrounding countryside, Joe Hill Louis became a popular   entertainer in the mod-south area in the late 1940s and it eventually opened the doors of   WDIA-Memphis, the local black radio station, for a 15-minute show for a patent medicine   called Pepti-con (from B.B. King) on which he was known as the Pep-ti-con Boy. This   appellation was later replaced by "The Be-Bop Boy", as indicated by the accompanying   photograph.
 
He through, by an informal union, Joe is reported to have a son named Leslie Hill who was   living in Chicago, Joe Hill Louis married his only wife, the former Dorothy "Ruthy" Mae   Pearson, on July 25, 1952 and the following year their son was born. Named Robert, he later   took Louis as a surname for himself and took name "Joe Louis" in honour of the boxing   champion. His brother was Lockhart Hill and was also an great musician. Despite Dorothy's  statement that they lived together until Joe died, the marriage may not have been one of  constant satisfaction for Joe, for he was soon back with the Canales, who always had a need   for a chauffeur or a houseboy, or a bartender at their frequent gatherings. He also worked   intermittently for Drew in his vending machine business, packing pennies in cigarette   packages by day and playing music in the countryside juke joints and roadhouses at night.
 
Drew Canale, who was to become Tennessee state senator from Shelby County (Memphis and   its environs) (1966-1970), was dabbling in recording in the late 1940s and claimed to have   been the first to record Joe, a session which, if ever issued, has yet to be identified.   Surprisingly, it was Columbia Records, that was the first to release recordings by Joe Hill   Louis.
 
Over a period of more than three years, between March 31, 1952 and September 9, 1953,   Joe Hill Louis recorded a number of sessions for Sam Phillips, alone and with accompanists,   which reached release on Modern and Checker as well as on his own labels The Phillips and   Sun Records. Sometimes during the mid-1950s, Drew Canale produced a rather curious   solitary release on his own Vendor record label. The vocal was credited to Les Vendor Keyboards and contained a spoken introduction by Canal, who later confirmed that the artist   was indeed Joe Hill Louis. Made exclusively for use in Canale's own jukebox and vending   machine distribution business, no more than a couple of copies are known to exist today. It   was reissued from the original stampers for collectors in the mid-1970s on the Mimisa label. Canale recorded him again, however, but by that time, Joe Hill's recording career included sessions for Meteor, Big Town, Ace, Rockin' and House Of Sound and among them are some   remarkable records, the Rockin' sides being especially notable. However, this later session   for Canale is believed to be Joe Hill Louis' last. A number of attempts, different approaches,   were made on a single tune, ironically entitled "late date" and though most of the session   still exists on tape, it remains unissued to this day. Joe Louis worked for the Blue Light Club in Memphis; the Brown Jug in West Memphis; the Tennessee House in West Memphis,   Arkansas in the early 1950s; recorded for the Rockin' label in Memphis, Tennessee in 1952;   recorded with Walter Horton for the Checker label in Chicago in 1952; recorded with Billy   Love for the Sun label in Memphis, Tennessee; recorded for Meteor label in Chicago in 1953;   recorded for Bigtown label in Memphis, Tennessee in 1954; recorded for the Ace label in West Memphis, Arkansas circa 1954; recorded for the House Of Sound label in Memphis,   Tennessee in 1957.
 
Joe Hill Louis had a great sense of humor and was definitely a ladies' man. He had a   different woman for every day in the week. His Sunday gal was Dorothy Houston who said   Joe would take her to nice quiet places: church, nice restaurants, quiet bars. He wouldn't   take her to gigs as he said they were rough places where the men didn't respect the woman.   Perhaps for one of these 'dailies' Joe was doing yardwork when he badly cut his thumb and it became infected with fertilizer. Eventually he contracted tetanus infection with which he   collapsed a few days later in his car on Beale Street, beyond help. He was taken to John   Gaston Hospital in Memphis, where he died August 5, 1957, loved by his friends and fellow   musicians, mourned by many women, and admired much too belatedly by the music public   around the world. Joe Hill Louis is buried at the Ford Chapel Cemetery in West Junction,   Tennessee. From the late forties until 1956, Joe Hill Louis was among the most popular figures in Memphis and the rural areas of Tennessee, Arkansas and Mississippi.