Be Bop Wino Pages

Joan Selects - the complete Joan Selects Collection

Big Ten Inchers - 78rpm rips by El Enmascarado

Attention Mac Users!

Mac users have been experiencing problems in unpacking the WinRAR archives used on this blog. Two solutions have been suggested.

1. Use The Unarchiver - - see comments on Little Esther Bad Baad Girl post for details.

2. Use Keka - - see comments on Johnny Otis Presents post.

Sunday 26 May 2019

The Rockin' 5 Royales (Apollo LP 488)

Side A:
01. Baby Don't Do It
02. Too Much Lovin'
03. Baby Take All Of Me
04. Courage To Love
05. You Know I Know
06. Help Me Somebody

Side B:
01. What's That
02. Laundromat Blues
03. All Righty
04. I Wanna Thank You
05. Put Something In It
06. I Like It Like That

Thanks to Marv for this "reconstruction" of an LP originally released by Apollo in 1959. Before Marv sent this collection in, I had no idea that Apollo actually issued LPs. On closer investigation on the Both Sides Now website I discovered that Apollo had released LPs intermittently during the 1950s and on into the early 1960s but there was little to interest fans of R&B except this compilation of sides by The "5" Royales. Joan drew my attention to a short series of 10-inch LPs released by Apollo in 1951-52 which compiled some tremendous jazz tracks from the 1940s, so stand by for Be Bop Wino reconstructions of some of these albums.

It is possible that Apollo released this LP to compete with the King LP "The "5" Royales Sing For You" which was also released in 1959. The "5" Royales had been the subject of an acrimonious lawsuit between Apollo and King in 1954 when the latter company lured the group to its roster and for a period of months both companies were issuing "5" Royales records.

Now normally on a vocal group post I refer readers to Marv Goldberg's site which is the go-to place for info on R&B vocal groups. Unfortunately there isn't a "5" Royales article on Marv's site, but I can refer you to this excellent article on the group by Steve Walker which is on the Blackcat Rockabilly website from the Netherlands.

As for this LP - it's one of the great R&B compilations, for you can hardly go wrong with the material recorded by The "5" Royales on Apollo during their stay on the label which lasted little more than two years. No vocal group of the time wore their gospel roots more on their sharp-suited sleeves than The "5" Royales, who had started out as far back as 1942 as The Royal Sons Quintet, a gospel group which included sandpaper voiced lead tenor Johnny Tanner and bass vocalist, guitarist and songwriter Lowman Pauling, both of whom were still in the group when it was picked up by Apollo Records in 1951.

It was Apollo which somehow persuaded the Royal Sons to record secular material, firstly as The Royals and then as The "5" Royales. Success came quickly with their second release, "Baby Don't Do It" racing up the R&B chart to the number one spot in February 1953. Their next record "Help Me Somebody" / "Crazy, Crazy, Crazy" was a double sided hit, both sides charting with "Help Me Somebody" reaching number one in June 1953. Their next record, "Too Much Lovin'" reached the number four spot in the R&B chart in August 1953, but the double entendre "Laundromat Blues" on the other side of the disc was banned by some radio stations.

The "5" Royales finished 1953 as the top selling R&B act of that year but 1954 brought far less success and considerable upheaval as the group left Apollo for King in April. Their last chart entry for Apollo was "I Do" (Apollo 452) which reached number 6 in the R&B chart in February 1954. Their last recording session for Apollo was on the 1st April 1954. On the 10th June 1954 the group had their first recording session for King. Apollo continued to release "5" Royales singles until February 1955 when the backlog of recordings ran out with "Six O'Clock In The Morning" /  "With All Your Heart" (Apollo 467).

Decades later many people would come to think of the "5" Royales as primarily a King act, thanks mainly to three classic songs they recorded for the label - "Think", "Tell The Truth" and "Dedicated To The One I Love" which achieved fame through cover versions by, respectively, James Brown, Ray Charles and The Shirelles, but it was with Apollo that the "5" Royales enjoyed their greatest commercial success, back in that annus mirabilis, 1953.

This reconstituted LP allows us to enjoy one of the greatest of the R&B vocal groups at their peak. Johnny Tanner's pleading, soulful vocals, Lowman Pauling's songwriting (he didn't become a guitar hero until 1957) and last but very much not least, Charlie "Little Jazz" Ferguson's dynamite backing make these recordings stone classics.

Original Release Information for the tracks on Apollo LP 488

You Know I Know / Courage To Love - Apollo 441 - August 1952

Baby Don't Do It / Take All Of Me - Apollo 443 - December 1952

Crazy, Crazy, Crazy / Help Me Somebody - Apollo 446 - April 1953

Too Much Lovin' (Much Too Much) / Laundromat Blues - Apollo 448 - July 1953

All Righty / I Want To Thank You - Apollo 449 - October 1953

Cry Some More / I Like It Like That - Apollo 454 - April 1954

Let Me Come Back Home / What's That - Apollo 458 - June 1954

Six O' Clock In The Morning / With All Your Heart* - Apollo 467 - February 1955

* retitled "Put Something In It" on Apollo LP 488

Apollo LP 488 released in late 1959.

Recommended listening:

All Righty! - The complete Apollo recordings including gospel releases as The Royal Sons Quintet. Westside CD WESM 591. 29 tracks. Released in 1999.

Thursday 23 May 2019

Lynn Hope - The Maharaja Of The Saxophone (King LP 717)

Side 1:
01. Tenderly
02. Rose Room
03. Body And Soul
04. Sands Of The Sahara
05. Blue And Sentimental
06. Shockin'

Side 2:
01. Oo Wee
02. A Ghost Of A Chance
03. Full Moon
04. Little Landslide
05. Stardust
06. Juicy

This is a "reconstruction" of Lynn Hope's King LP which was released in January 1961. The sides were recorded over two sessions in March 1960. Four singles from the sessions were released during 1960 (details below) and then came this album ... and then Lynn Hope faded from the music scene.

These are Lynn's last recordings and they don't sound all that different from his earlier Premium and Aladdin recordings. There's a re-recording of his big hit "Tenderly" and a tremendous slice of heated exotica in "Sands Of The Sahara." The presence of Earl Bostic's vibes player Gene Redd helps keep that slightly strange and exotic vibe going on certain tracks.

Lynn Hope has long been one of my favourite R&B sax players, always earthy yet with a hint of something strange just behind the curtain. There's a link below to a previous post (2009) I wrote on him which has a brief summary of his career. There is also a post on Crownpropellor's blog which has some fantastic photos of Lynn from a 1953 copy of Ebony magazine. The below-the-line comments are also very interesting as his daughter informed blog readers that her father had passed in February 1993.

Another comment on Crownpropellor's post refers to the short story / reminiscence by Amiri Bakara (LeRoi Jones) based around a gig by Lynn Hope. Titled "The Screamers", the story can be found in the Penguin collection "The Portable Beat Reader" (ed. Ann Charters). I came across a suitably beat up copy a couple of years ago in a local charity shop. So let us bring this part of the post to an end with a suitable quote from the story (imagine Lynn's band bomp, bomp, bomping on an R&B standard such as "Night Train" or "Harlem Nocturne" while dancers grind slowly against each other in a packed and seedy club) -

"He stomped his foot and waved one hand. The other hung loosely on his horn. And their turbans wove in among those shadows. Lynn's tighter, neater and bright gorgeous yellow stuck with a green stone. Also those green sparkling cubes dancing off his pinkies. A-boomp bahba bahba, A-boomp bahba bahba, A-boomp bahba bahba, A-boomp bahba bahba, the turbans sway behind him. And he grins before he lifts the horn ... "

The Trax 'n' The Fax

Cincinnati, 4th March 1960:
Lynn Hope (tenor sax) with - Gene Redd (trumpet, vibes); Jamie Palmer (piano); Fred Jordan (guitar); Clarence Mack (bass); Philip Paul (drums) -
Full Moon
A Ghost Of A Chance
Body And Soul

Cincinnati, 28th March 1960:
Personnel as above except Edwyn Conley replaces Clarence Mack on bass -
Blue And Sentimental
Rose Room
Sands Of The Sahara
Little Landslide
Oo Wee

Lynn Hope singles on King -

Tenderly / Full Moon - King 5336 - issued April 1960.
Sands Of The Sahara / Body And Soul - King 5352 - issued June 1960.
A Ghost Of A Chance / Little Landslide- King 5378 - issued August 1960.
Shockin' / Blue And Sentimental - King 5431 - issued December 1960.

King LP 717 "Maharaja Of The Saxophone" issued in January 1961.

Also on the blog:

"Lynn Hope And His Tenor Sax" - Aladdin sides. Posted 12th October 2009. I've added a new Mega link to the post as Zippyshare seems to be disappearing from EU countries.

More of the 1953 Ebony article can be read here - Muslims and Jazz in 1953.

My thanks to the original uploaders of the cover and label scans.

Sunday 19 May 2019

Gatemouth Moore Sings Blues (King LP 684)

Side 1:
01. I'm A Fool To Care
02. Highway 61 Blues
03. Gambling Woman
04. Don't You Know I Love You Baby
05. Teasin' Brown
06. Hey Mr. Gatemouth
07. You're My Specialty Baby
08. Gotta Walk

Side 2:
01. Something I'm Gonna Be
02. I Ain't Mad At You Pretty Baby
03. Did You Ever Try To Cry
04. Satisfying Papa
05. Graveyard Disposition
06. Willa Mae
07. After Loving A Woman
08. You're Having Hard Luck

Gatemouth Moore Sings Blues (Zippy)

I've "reconstructed" this LP which was originally issued in June 1960 by trawling the internet for the artwork and matching it up with tracks in my collection. As I did this a few weeks ago I've managed to forget where exactly I found the artwork! Probably or a record sales site, so my thanks to whoever uploaded the cover and label shots.

Arnold Dwight "Gatemouth" Moore was one of the best of the 1940s blues shouters, yet his recordings for two of the larger independent record companies, National and King, failed to sell. He was a performer who could not only shout rambunctious blues but was also capable of handling crooning duties on pop standards and ballads.

Born in Topeka, Kansas, in 1913, his music career took off in 1930 in Kansas City where he sang in a club which featured musicians such as Benny Moten and Count Basie. He formed a quartet in Topeka called the Four Sharps who were recruited for a tour of Tennessee, Mississippi, Louisiana, and Texas by the Beckman and Garrity Carnival, a booking which was the start of years on the road for Gatemouth and the Four Sharps with tent shows, circuses, minstrel shows and reviews - outfits such as Porkchop Chapman's Show, Sammy Green's Down In Dixie Minstrels, Sam Dale's Circus, Ida Cox's Darktown Scandals and the F.S. Wallcot Rabbit Foot Minstrels. After being left stranded in Clarksdale Mississippi by the Walcott show, Gatemouth split from the Four Sharps and settled in Memphis.

In 1939 he was recruited by the Walter Barnes band for an extensive tour which lasted into 1940. In April 1940, the tour was about to finish and the band were due to head back to their home base in Chicago when they accepted an extra booking by the Rhythm Club in Natchez, Mississippi. The Rhythm Club consisted of a rather ramshackle club / dance hall housed in a timber and tin sheeting building which had served as a pentecostal church and then as a blacksmith's or motor repair shop. The owners had booked the Tiny Bradshaw band for a dance timed to coincide with the local black high school's commencement celebration on April 23rd, 1940. Bradshaw, however, was offered a week's residency at the Apollo Theatre in Harlem and withdrew from the arrangement.

The Walter Barnes band was a long established and popular outfit on what was to become known as the Chitlin' Circuit - that network of clubs, dance halls and ghetto theatres (and even tobacco warehouses) which constituted the venues on the touring itinary of black musicians. The Barnes outfit accepted the late booking, the dance was saved, and the musicians could return home the following day.

What happened on that evening in Natchez has entered history as one of the worst night club fire disasters in the U.S. The Rhythm Club was a potential death trap as the owners had decorated the hall with dried Spanish moss soaked in a kerosene based insect repellent and then sealed all exits and boarded up the windows to prevent non paying spectators from seeing or hearing the band. The only door left open was the main entrance and that was a door which opened inwards.

When fire broke out it spread rapidly and mass panic ensued as the dancers attempted to flee through the only available exit. The death toll came to 209 with many others injured. Deaths were due to crushing, suffocation (the fire consumed all available oxygen), scalding (the heated tin sheeting turned water from the fire brigade's hoses to steam) and burning. Firemen who attempted to enter the building by the front door were confronted by a wall of bodies and had to rip down the sheeting from the walls to gain entry and to let survivors escape.

Walter Barnes, who had kept the band playing in a heroic attempt to quell the panic, died along with all of his musicians except the bass player and drummer who managed to smash their way through a boarded up window and thus escape from the doomed building. A third surviving band member was Gatemouth Moore who was outside the building in the band bus when the fire broke out. One contemporary report stated that he had already left the tour in the company of several other musicians a few days before the disaster but his inclusion in this group appears to have been mistaken.

Gatemouth returned to Memphis for a spell, singing with the Andrew Jenkins band. In 1941 he moved back to Kansas City to take up a residency at the Chez Paree club where he was backed by the Carolina Cotton Pickers with whom he toured in 1942. The club owner, a Mrs Gilmore, decided to start her own record label, Gilmore's Chez Paree, for which Gatemouth made his recording debut in 1944 or early 1945. He cut two singles backed by an "all star" lineup of KC musicians which included Tommy Douglas and Walter Page.

The first single released had two of Gatemouth's own compositions, "I Ain't Mad At You" and "Did You Ever Love a Woman" which he went on to re-record for National when he signed with that company in May of 1945. Unfortunately despite some good records backed by top class bands Dallas Bartley And His Small Town Boys, the Budd Johnson Orchestra, and the Tiny Grimes Swingtet (including John Hardee on tenor sax), the records failed to sell and Gatemouth's contract was not renewed after his third session for National in October 1946.

His first session for King was in August 1947 with a piano, guitar and drums trio. For his second session in October 1947, the group was augmented with a horn section. A total of eight sides were recorded at these sessions, all of which were released on singles and six of which made it to this LP. See section below for details.

On the 26th December 1947 Gatemouth was in a Chicago studio where he recorded a mammoth 20 tracks as King were stockpiling sides in anticipation of the American Federation of Musicians recording ban due to come into force on the 1st January 1948. Of the twenty sides, ten are included on this LP, only four of which had a previous single release. The remaining masters remained unreleased until the the issue of the Westside CD "Hey Mr. Gatemouth" in 2000. There was, however, one exception - a re-recording of "Did You Ever Love a Woman" the master of which had disappeared.

Gatemouth before he renounced sin

Despite the generally very good standard of Gatemouth's King recordings his experience with National was repeated - disappointingly low sales and the termination of his contract. He kept performing live though, until one night in 1949 at the Club DeLisa in Chicago he underwent a sudden religious conversion on stage. His voice simply vanished and he was unable to utter a sound despite the Red Saunders band repeatedly cuing him in. Then he launched into "Shine On Me" amidst tumultous scenes in that palace of sin. On Sunday he was in church, on Monday he enrolled in Bible college and he was on the way to becoming the Reverend Gatemouth Moore, saviour of souls.

That was the end of the Reverend's R&B career, with one exception. After decades of preaching, recording religious songs and playing gospel records on Memphis station WDIA, in 1977 he arranged with Johnny Otis to record an album of R&B tracks which included his old songs and a new song in which he looked back to the now vanished days of his life as a blues singer, "Beale Street Ain't Beale Street No More." He can be seen singing this song in the film "The Road To Memphis", an episode in the TV series "Martin Scorsese Presents The Blues" from 2003. He appears alone, apparently singing to himself as he walks down a deserted and much changed Beale Street. The Reverend Gatemouth Moore went to his reward in 2004.

The Tracks - The Lowdown

I'm A Fool To Care; Highway 61 Blues - recorded in Cincinnati, 12th August, 1947. Personnel - Gatemouth Moore (vocals); Allen Smith (piano); Willie Gaddy (guitar); Monty Morrison (drums). Also recorded at this session but not on this LP - Christmas Blues; East Of The Sun.

I'm A Fool To Care / Highway 61 Blues - released on King 4178 in October 1947.

Don't You Know I Love You Baby; Gamblin' Woman; Satisfying Papa; Teasin' Brown - recorded in Cincinnati, September 1947. Personnel as above but add unknown trumpet, alto sax, tenor sax.

Gamblin' Woman / Satisfying Papa - released on King 4187 in December 1947.

Teasin' Brown / Christmas Blues - released on King 4195 in December 1947.

Hey Mr. Gatemouth; Did You Ever Try To Cry; Something I'm Gonna Be; You're Having Hard Luck Blues; Willa Mae; Graveyard Disposition; You're My Specialty Baby; After Loving A Woman; Gotta Walk; I Ain't Mad At You Pretty Baby - recorded in Chicago, 26th December, 1947. Personnel: Gatemouth Moore (vocals); Bill Martin (trumpet); Bert Patrick (alto sax); Moses Gant (tenor sax); Nat Walker and Simeon Hatch (piano); Adolphus Dean (bass); James Adams (drums).

Hey, Mr. Gatemouth / Don't You Know I Love You Baby - released on King 4211 in April 1948.

East Of The Sun / Gotta Walk released on King 4224 in May 1948.

Something I'm Gonna Be / You're My Specialty Baby released on King 4256 in December 1948.

Did You Ever Try To Cry; You're Having Hard Luck Blues; Willa Mae; Graveyard Disposition; After Loving A Woman; I Ain't Mad At You Pretty Baby - all first released on King LP 684 "Gatemouth Moore Sings Blues" in June 1960.

A further ten tracks were recorded at the 26th December 1947 session. Nine were first issued on Westside CD WESF 100, "Hey Mr. Gatemouth. Complete King Recordings" in 2000. One master, "Did You Ever Love a Woman," remains lost.


Savoy Jazz CD SVY 17327 collection of complete National recordings. 20 tracks.

Westside CD WESF 100 the complete King recordings. 27 tracks. Detailed article by Neil Slaven on Gatemouth which is the main source of information for this post.

The Chitlin' Circuit and the Road to Rock 'N' Roll - Preston Lauterbach. History of the network of clubs and theaters worked by Black music acts from the 1930s onwards. Contains a full account of the Natchez Rhythm Club fire.

On YouTube - The Rhythm Club Fire Documentary (complete film). 30 minute award winning film on the Natchez Rhythm Club fire.

notes by Neil Slaven to Westside CD "Hey Mr. Gatemouth: Complete King Recordings."
"The Chitlin' Circuit And The Road To Rock 'N' Roll" - Preston Lauterbach.
"Big Band Jazz" by Albert McCarthy.
Bruyninckx discography.
Billboard magazine.

Friday 10 May 2019

If It's Not A Hit I'll Eat My Hat

Side 1:
01. Hound Dog - Big Mama Thornton
02. Pledging My Love - Johnny Ace
03. I Love My Baby - Little Richard
04. I Wanna Ramble - Little Junior Parker
05. Farther Up The Road - Bobby Bland
06. Keep On Doggin' - Rosco Gordon
07. To The End - The Sensational Nightingales

Side 2:
01. Texas Flood - Larry Davis
02. Okie Dokie Stomp - Gatemouth Brown
03. Taxi Blues - Little Frankie Lee
04. Spunky Onions - Billy Davis & The Legends
05. Blue Monday - James Davis
06. Funny How Time Slips Away - Joe Hinton
07. Treat Her Right - Roy Head

Nice little Ace comp of sides recorded and issued on Don Robey's labels - both his original Houston-based Peacock label and the Memphis founded Duke label which he acquired under, er, forceful circumstances and subsequently relocated to Houston. See the recent Johnny Ace post for more about this tale of robust business practices and alleged use of firearms as an aid to bringing negotiations to a successful conclusion.

David Mattis, the founder of Duke Records, was far from being the only victim of Robey's methods. Little Richard was assaulted by Robey when the two met to discuss the lack of success of the Georgia Peach's recordings for Peacock. "He jumped on me, knocked me down, and kicked me in the stomach. It gave me a hernia that was painful for years. I had to have an operation. Right there in the office he beat me up." (The Life and Times of Little Richard - Charles White)

Little Richard's final session for Peacock was on October 5th, 1953 in Houston when he cut four tracks backed by the Johnny Otis Orchestra. None of the tracks were released at the time, but when he started getting multi million selling hits on the Specialty label in 1955-56, Robey dug out the discarded tracks and released them on two singles one of which featured the track included on this collection - "I Love My Baby."

As for the rest of the music on this collection - it's a nice mix of R&B, Blues, Soul, Rock 'n' Roll and Gospel. Included are two number one R&B hits, "Hound Dog" by Big Mama Thornton and "Pledging My Love" by Johnny Ace. Both acts were featured together on a regular touring show arranged by another Robey enterprise, the Buffalo Booking Agency. Until that fateful Christmas Night of 1954 at the Houston City Auditorium ...

Monday 6 May 2019

John Lee Hooker - The Blues (Crown LP 5157)

Side 1:
01. Boogie Chillen
02. I'm In The Mood
03. Crawling King Snake
04. Queen Bee
05. Hobo Blues
06. Weeping Willow

Side 2:
01. Cold Chills
02. Hoogie Boogie
03. Whistling And Moaning
04. Sally Mae
05. House Rent Boogie
06. Anybody Seen My Baby

John Lee Hooker - The Blues (Zippy)

Thanks to regular contributor Marv for this reconstitution of a John Lee Hooker LP which was originally released in 1960. The sides on this collection are a good selection of Hooker's late 1940s / early 1950s releases on Modern, some of which were very big R&B hits. "Boogie Chillen" was number 1 in the R&B charts in January 1949. "Hobo Blues," "Crawling King Snake" and "I'm In The Mood" were also hits in 1950/51. During this period Hooker sides were also released on a multiplicity of labels, including Specialty, King, Chess, and Gotham, sometimes pseudonymously.

A native of Clarksdale, Mississippi, Hooker's footstomping, one man and his guitar delta blues style stood in stark contrast to the jump band and blues combo styles which dominated the R&B charts of the time. When he signed for Vee Jay records in the autumn of 1955, his vocals and guitar work were accompanied by small combos which usually featured labelmate Jimmy Reed's collaborator Eddie Taylor. He re-recorded many of his Modern tracks for Vee Jay and also had success with new R&B material such as "Dimples" and "Boom Boom."

This particular LP was issued at a time when Hooker was making a successful move into the "folk blues" market, having recorded two accoustic albums for the jazz label Riverside aimed at the mainly white college crowd. The Bihari Brothers' budget LP outlet Crown wasn't the only label to cash in on the folk blues craze as more early 1950s Hooker material was recycled on LPs by the King and Chess labels in 1960.

On June 25th, 1960, Hooker appeared at the Newport Folk Festival on the same bill as Joan Baez, Flatt & Scruggs, and The Weavers. On July 3rd he appeared at the Newport Jazz Festival. His Riverside LP, "That's My Story" was released around this time. In August 1960 Vee Jay had an ad in the trade papers announcing that the LP "Travelin'" was a winner in the Downbeat International Critics Poll in both jazz and folk categories. In October a Vee Jay advert advised dealers of the issue of "John Lee Hooker's New Folk Single" - "Tupelo" which was a live recording from one of the Newport festivals.

The cover of this Crown LP uses one of the favourite themes of "folk blues" LP covers - empty chair(s) and a guitar lying ready for the folk artist to take to the stage to perform a set of songs relating tales of hard times on the Delta. Mind you this cover is a model of restraint when you compare it with that of another 1960 LP of Hooker sides - Chess LP 1438 "House Of The Blues" which had a photograph of a shot-to-hell country shack.

It should be borne in mind that John Lee Hooker, like fellow Vee Jay bluesman Jimmy Reed, was still recording rockin' R&B records while doing the folk blues rounds. In 1962 his "Boom Boom" reached number 16 in the R&B chart  and even crossed into the lower reaches of the pop charts.

The Track Details:

01. Boogie Chillen - Recorded in Detroit, circa September, 1948. Personnel: John Lee Hooker (vocal, guitar). Released on Modern 20-627.

02. I'm In The Mood - Recorded in Detroit, August 7th, 1951. Personnel: John Lee Hooker (vocal, guitar); Eddie Kirkland (vocal, guitar). Released on Modern 835.

03. Crawling King Snake - Recorded in Detroit, February 18th, 1949. Personnel: John Lee Hooker (vocal, guitar). Released on Modern 20-714.

04. Queen Bee - Recorded in Detroit, November 16th, 1950. Personnel: John Lee Hooker (vocal, guitar). Released on Modern 20-814.

05. Hobo Blues - Recorded in Detroit, February 18th, 1949. Personnel: John Lee Hooker (vocal, guitar). Released on Modern 20-663.

06. Weeping Willow - Recorded in Detroit, ? 1949. Personnel: John Lee Hooker (vocal, guitar). Released on Modern 20-688.

07. Cold Chills - Recorded in Detroit, early 1952. Personnel: John Lee Hooker (vocal, guitar); Bernie Besman (organ). Released on Modern 862.

08. Hoogie Boogie - Recorded in Detroit, ? February 1949. Personnel: John Lee Hooker (vocal, guitar). Released on Modern 20-663.

09. Whistling And Moaning - Recorded in Detroit, ? 1949. Personnel: John Lee Hooker (vocal, guitar, whistling). Released on Modern 20-688.

10. Sally Mae - Recorded in Detroit, circa September, 1948. Personnel: John Lee Hooker (vocal, guitar). This is an alternate take of the side released on Modern 20-627.

11. House Rent Boogie - Recorded in Detroit, November 16th, 1950. Personnel: John Lee Hooker (vocal, guitar). Released on Modern 20-814.

12. Anybody Seen My Baby - Recorded in Detroit, August 7th, 1951. Personnel: John Lee Hooker (vocal, guitar); Eddie Kirkland (guitar). Released on Modern 847.

Original Single Releases of Tracks:

Modern 20-627 - Sally May / Boogie Chillen' - John Lee Hooker & His Guitar - released November 1948. Re-released as Modern 627 in 1951.

Modern 20-663 - Hoogie Boogie / Hobo Blues - John Lee Hooker & His Guitar - released March 1949.

Modern 20-688 - Whistlin' and Moanin' Blues / Weeping Willow Boogie - John Lee Hooker - released June (?) 1949.

Modern 20-714 - Crawlin' King Snake / Drifting From Door To Door - John Lee Hooker and his Guitar - released October 1949.

Modern 20-814 - John L's House Rent Boogie / Queen Bee - John Lee Hooker - released May 1951.

Modern 835 - I'm In The Mood / How Can You Do It - John Lee Hooker - released October 1951.

Modern 847 - Turn Over A New Leaf  / Anybody Seen My Baby - John L. Hooker - released ?early 1952?

Modern 862 - Rock Me Mama / Cold Chills All Over Me - John Lee Hooker - released circa April 1952.

Elsewhere on the blog: "This Is Hip" - a collection of Vee Jay sides including "Dimples" and "Boom Boom."

Click on the link - "John Lee Hooker - This Is Hip"
The original Zippyshare link is still active and I have added a new Mega link.

Many thanks to Marv and a tip of the chapeau to for cover art.