Gene Phillips
By Marv Goldberg
© 2024 by Marv Goldberg
Gene Phillips, a singer and a respected guitarist, was a Big Deal on the Los Angeles music scene for many years, although he never had a national hit. He sometimes played a "lap steel guitar", which could be a regular guitar held horizontally and played with finger picks and a steel bar on the neck strings (the Hawaiian guitar sound). However, almost all photos of him show him playing a regularly-held guitar.
Gene did a lot of session work. Artists he backed up included Jack McVea, Lloyd Glenn, Wynonie Harris, Percy Mayfield, Jimmie Hudson, Duke Henderson, Henry Hayes, Johnny Otis, Preston Love, Jake "King" Porter, Oscar McLollie, and who knows how many others? I'm sure the discography is woefully incomplete, but it should be fine for any song that has his name on the label. I'll keep saying this, but for all recordings where Gene's name isn't on the label, "you'll find the release information in the discography". (I've divided it into two sections: releases with Gene's name on the label and releases where he's an uncredited guitarist.)
His band was usually known as the "Rhythm Aces". It included Jake Porter (trumpet), Al "Cake" Wichard (drums), Maxwell Davis (tenor sax), Marshall Royal (alto sax), Jack McVea (sax), Bumps Meyers (sax), and Lloyd Glenn (piano). NOTE: "included" doesn't mean they were all on one session. There were probably many, many others. As I've said in the past, members of a band come and go at an astonishing rate, so when I name members, consider that a snapshot at a given moment. Actually, only in May 1945 were the members of the performing Rhythm Aces ever named; members credited on labels were probably mostly studio musicians brought together for the session.
Eugene Floyd "Gene" Phillips was born in St. Louis, Missouri on May 25, 1915. According to his Social Security record, his mother was Lillie Zomphier and his father was Clyde Phillips. (When he died, his California death record said his mother's maiden name was "Woods", but Zomphier is correct.)
Lillie would have been 14 when he was born, but she never married his father. Lillie and Gene show up together in the 1920 census, when they're living with her parents. Unfortunately, Lillie developed cancer and died on May 2, 1928, right before Gene's 13th birthday.
There was only ever one Clyde Phillips who could have been Gene's father: Clyde Mark Phillips. His World War 1 draft registration said he was born in August 1897, making him almost 18 when Gene was born. Clyde was born in St. Louis, but by 1918, he was a trucker living in Kansas City, Kansas. We'll meet him once more later on (but I have no idea if Gene ever met him). As far as I can tell, Clyde never had any other children, so Gene had no siblings.
In 1930, Gene was still living in St. Louis with his grandparents.
Supposedly, he began by playing the ukulele, before switching to the guitar. The first time we hear of him professionally is when he was mentioned in the December 31, 1932 Pittsburgh Courier:
Charles Jenkins writes from St. Louis that the "Five Mystic Knights Of Rhythm" have just signed for an engagement at the Plantation Night Club. The floor show is under the direction of S. H. Dudley, Jr., well-known producer. The boys are full of pep and raring to go. They are featuring Boots Galloway, the mandolin wizard; Eddie (Sonny) Montgomery, dancer; Floyd Smith, uke, banjo and vocalist, and Gene Phillips, tenor guitar [a four-string guitar].
The astute among you will have noticed that only four names were given for the quintet. Floyd Smith, who'd later join Andy Kirk's Clouds Of Joy, was supposedly the one who taught Gene the lap steel guitar.
A couple of years later, he had a 15-minute radio program over local St. Louis station KSD. He was only in the listings ("Gene Phillips' Songs") for two weeks: from July 30, 1935 through August 15. [As with almost every other male singer I research, there was a sports figure with the same name; this one a golfer from Omaha. In March 1935, he was going to golf across the country, from Chicago to Los Angeles. (Let's play through and leave him behind.) Later on, in 1945, there was an ambidextrous pitcher from Wichita Falls, Texas with that name. (Let's throw him out and strike out on the road to our real goal.)]
Gene somehow ended up in Atlanta in 1937, as part of a 13-piece band called the Troubadours. There were a couple of ads for them at the Top Hat Club (from September 4 to October 8), but no members were mentioned.
Gene was seemingly back in St. Louis by December 1937. There's an ad for Club Hy-D-Way, which featured Ted Britton's Orchestra (the house band from October 1937 through March 1938). The relevant part of the ad names the acts; one of them is "Jo Ann and Gene Phillips". Who was Jo Ann Phillips? I have no idea. This is her only mention; she never turns up anywhere else, he had no siblings, and I can't find any marriage record to someone who might be her. Technically, the way these ads are put together, it could have been Gene Phillips together with someone who was just known as "Jo Ann", not "Jo Ann Phillips".
In 1938, he somehow became guitarist with the highly-successful territory band of Hartley Toots in Miami. At the time, Toots' singer was Melrose Colbert. A photo of the band shows Gene playing a horizontal guitar (the only time he seems to have been photographed playing that way). He was probably with Toots when the band played the Apollo Theater in July 1938.
After that (date unknown), he returned to St. Louis and joined trumpeter George "Dewey" Jackson's 12-piece orchestra. When Gene registered for the draft in October 1940, he gave his employer as "Dewy [sic] Jackson (musician)". He was then supposedly with Jimmy Powell's orchestra (also in St. Louis) for a while, but I can't find any mention of that band at all. (The only possibility is alto saxophonist Jimmie Powell, who replaced Tab Smith in Count Basie's band in June 1943, but I don't know if he ever had a band of his own.)
Supposedly, sometime in 1941, Gene joined the Mills Brothers, replacing their regular guitarist, Allen Norman Brown, who'd been drafted. However (why is there always a "however"?), that isn't right. The February 28, 1942 Pittsburgh Courier had this: "Norman Brown, guitar accompanist to the Mills Bros. entered the army via Fort Dix Tuesday." Notice that it didn't say "ex-guitarist" or "former guitarist"; he was there right up to the time he was inducted. [Note that liner notes say that Gene replaced guitarist Bob Marks; no one by that name was ever associated with the Mills Brothers.]
To put another nail in the 1941 coffin, there was this in the April 4, 1942 Pittsburgh Courier. The blurb started by saying that the group was heading east. Here's the relevant passage: "While playing here [the Tower Theater in Kansas City], the act was using a new guitarist, John Smith, as background, since their former guitar player, Norman Brown, received a hurry call from Uncle Sam." John Smith (yes, it's really his name) had once been with Fats Waller and, by the end of 1942, would be guitarist with Benny Carter.
So, Gene was hired to replace John Smith? It doesn't seem that way. The Mills Brothers had a recording session in New York on July 9, 1942 ("I Met Her On Monday") and, according to the Decca files, the guitarist on that was Bernard Addison.
Right after that session, the Mills Brothers headed out to Evansville, Indiana to spend two weeks at the Club Trocadero, starting July 10. This looks like the time they picked up Gene Phillips to be their guitarist, but how and where remains a mystery. After the Troc, they were at the Mars Theater, in Lafayette, Indiana on July 25. [Because the Research Gods love to make my life more interesting, there was also a Mills Brothers Circus that pops up often in newspapers.]
And then, they were off to Los Angeles, where they started an eight-month engagement at the Zanzibar Room of the Florentine Gardens on July 29 (they'd be there through March 1943). Gene Phillips was certainly with them at this time.
Gene also appeared in two films with the Mills brothers: Reveille With Beverly (Columbia Pictures; released February 4, 1943) and He's My Guy (Universal Pictures; released March 26, 1943). Presumably both of their sequences were filmed in late 1942.
By April 1943, the Mills Brothers had left Los Angeles for a tour of Canada (April 12 found them appearing in Vancouver, British Columbia), but Gene didn't go with them. Supposedly he'd gotten his draft notice, but he was never in the military.
By late 1943, Gene had joined pianist Lorenzo Flennoy's combo. The first time the "Flennoy Trio" was mentioned was at L. A.'s Swanee Inn in late September. Gene was presumably there from the start, although no names were given until July 1944. (The third member was bassist Robert Lewis.)
The Trio was cast for a new production called "Sweet 'N Hot", which opened at the Mayan Theater in Los Angeles on January 19, 1944. Also in the cast were (whom they backed up), Dorothy Dandridge, Leonard Reed, Marie Bryant, Fred Gordon, Archie Savage, Miller & Lee, Edith Wilson, Olivette Miller, and Bob Parrish. It had 23 scenes, 17 new songs (some written by Otis Rene), and a cast of 50.
Since he was with the Flennoy Trio in May 1944, this blurb in the May 13 Pittsburgh Courier had to be talking about someone else: "Calypso singer LeRoy Antoine and his accompanist, Eugene Phillips."
Gene married Lena S. Minor on August 30, 1944 in Los Angeles. A small blurb in the September 7, 1944 California Eagle called her Lena Minor-Phillips.
In September, the Flennoy Trio recorded three Soundies with Mabel Scott (see my Flennoy Trio article).
In early 1945, Gene Phillips departed the Flennoy Trio. I've been unable to determine exactly when this happened, but no later than March. Gene wasted no time in forming his own combo. The May 3 California Eagle had a large blurb about them:
A new musical trio made its debut at the Randinis Club on West Sixth street last month and according to reports by the music lovers, the new outfit is destined to follow in the footsteps of the great Nat Cole Trio. [That club was owned by Leo and Esther Randini and should have been spelled "Randini's", but rarely was.]
Gene Phillips is the organizer of the group. Gene is well known in the entertainment world, having been with the famous Mills Brothers. In fact, Gene came to Los Angeles with them, playing a long engagement at the Florentine Gardens. He was their guitarist and, falling in love with this climate, decided to make L. A. his home. Since remaining here, Gene has played with the Flennoy Trio, who furnished music for many clubs, including the Last Word, the Casa Blanca, the Swanee Club, the Orpheum Theatre, and many other first class places. He has named his outfit the RHYTHM ACES. He is also the writer of that well-known song hit, "She's My Honey Chile" [which the Flennoy Trio had recorded as "My Honey Chile"].
Other members of the "Trio" are Art Edwards playing the bass; Eddie Matthews, piano; and Joe Alexander on the vocals and playing the swingette. [It's interesting that, although it's called a "trio", there are four members. I imagine that accounts for them putting the word in quotes. And, I tried really, really hard, but I couldn't find out what a "swingette" was.]
Art Edwards formerly played with George Morrison of Denver, Colo. and Walter Barnes of Chicago. [They left out that Edwards had been part of Bud Scott's Troubadours, in Los Angeles, in late 1943. Art would be the only one of this group who'd ever be associated with Gene Phillips on recordings.]
Eddie Matthews is from San Francisco and played at the Showboat Club and the Back Stage Club there with Sammy Dean. Matthews is still studying piano, intending to go on the concert stage later.
Joe Alexander is known to Los Angeleans by his fine vocalizing with Floyd Ray and his band. Since leaving the Ray group, Alexander has been featured at The Last Word, Club Alabam, and his latest job, master of ceremonies at the Cricket Club in Hollywood.
A week later, the May 10 Eagle had a photo of the group. It's really terrible quality, but it's probably the only photo you'll ever see of the original Rhythm Aces. The caption identifies them and says: "... Joe Alexander, vocals and performer on what is called the swingette." It's not really clear, but only Gene seems to be holding an instrument. They were still at Randini's in late September. (In late October, Randini's was one of the cafes indicted for refilling liquor bottles with inferior swill; others were Ciro's and the Streets Of Paris.)
On June 11, 1945, the Rhythm Aces appeared at the Embassy Auditorium along with the King Cole Trio, Helen Humes, and Slim & Bam. They're already keeping good company.
The California Eagle of July 26 treated us to one of those blurbs that say nothing: "One of the regular patrons of Al Austin's Casa Blanca is Gene Phillips, who formerly played the electric guitar with the Flennoy Trio at that spot. Gene formed his own Combo and is now playing out Hollywood way." Does that tell you enough so that I don't have to bother finishing this article? It doesn't? Drat; now I have to keep digging.
An August 23 California Eagle blurb told us that Joe Alexander was still the "vocalist with Gene Phillips' combo". By late June 1946, he was back with Floyd Ray; there was no mention of him at all between the two dates.
In September 1945, Gene was the guitarist in a series of Los Angeles recording sessions for Apollo Records. The first of these (probably done over two or three days, based on the number of recordings) was with Jack McVea's band. (In the following year, McVea would become famous with his version of "Open The Door, Richard!") The musicians were (according to the label on "O-Kay For Baby"): Jack McVea (sax), Bob Mosley (piano), Frank Clarke (bass), Robert "Rabon" Tarrant (drums), Gene Phillips (guitar), and John Buckner (trumpet). The songs were (you'll find the release information in the discography):
We're Together Again [R; Apollo 366]
It Never Should Have Been This Way [R; Apollo 370]
O-Kay For Baby (instrumental) [J; Apollo 761]
I Live True To You [R; Apollo 365]
Blues All Night (unissued)
Naggin' Woman Blues [R; Apollo 365]
Then I've Got To Go (unissued)
Listen Baby Blues [R; Apollo 366]
Don't Blame Me (instrumental) [J; Apollo 761]
[R] = released as "Rabon Tarrant with Jack McVea & His All Stars"; Rabon on vocals
[J] = released as "Jack McVea & His All Stars, with Gene's name on the label as guitarist"
A few days later, Gene was part of the band backing Wynonie Harris in another Los Angeles Apollo session. The only other known band members were: Oscar Pettiford (bass) and Paul Quinichette (tenor sax). The songs were (you'll find the release information in the discography):
I Got A Lyin’ Woman [Apollo 387]
Rebecca’s Blues [Apollo 387]
Everybody’s Boogie [Apollo 378]
Time To Change Your Town [Apollo 378]
They'd all eventually be released as "Wynonie 'Blues' Harris with Oscar Pettiford & His All Stars". I guess Apollo was fond of the term "All Stars".
An "Evening Soiree" held by the Interracial Film And Radio Guild (IFRG) on November 11, 1945 at the Villa Arlington had the Rhythm Aces as part of the entertainment.
Also in November (exact date unknown), Gene was the guitarist on a Bob Mosley session for Bel-Tone. Although he had been on some Mills Brothers recordings, when the Bel-Tones were released, it would be the first time his name would appear on a label. The musicians were: Bob Mosley (piano), Karl George (trumpet), Marshall Royal (alto sax and clarinet), Lucky Thompson (tenor sax), Gene Phillips (guitar), Charlie Mingus (bass), Lee Young (drums), and Marion Abernathy (vocals). The songs were:
Voot Rhythm (instrumental)
Stormy Mood (voc. Marion Abernathy)
Baggin the Boogie (voc. Marion Abernathy)
Bee Boogie Boo (instrumental)
They'd all be released as "Bob Mosely & All Stars". Obviously, Apollo wasn't the only company that loved "All Stars". Note: on some labels, "Voot Rhythm" incorrectly shows the master number to be 37, instead of 34.
[Bob Mosley (whose name is sometimes, incorrectly, seen as "Mosely", including on the Bel-Tone labels) had gone to Europe in 1937 as the accompanist to Mabel Scott. He stayed on a while after she returned and came back in 1939 on the same ship as bassist Wilson "Serious" Myers, who'd been in the Spirits Of Rhythm. In late 1943 both Mosley and Myers joined Tiger Haynes to form Plink, Plank And Plunk. On the label of "Bee Boogie Boo", the group name has "Mosely", but the writer credit has "Mosley"; a difficult name to deal with.]
Gene was on three Duke Henderson sessions for Apollo. (You'll find release information in the discography.)
November 28, 1945: Duke Henderson (vocals), Karl George (trumpet), Jewell Grant (alto sax), Lucky Thompson (tenor sax), Gene Porter (clarinet), Gene Phillips (guitar), Wilbert Baranco (piano), Charlie Mingus (bass), and Lee Young (drums). The songs were:
Don't Keep Me Waiting
Mama Bear Blues
S. H. Blues
Not Worth A Dime
Fool Hearted Woman
H. D. Blues
December 4, 1945: Duke Henderson (vocals), Teddy Buckner (piano) Happy Johnson (trombone), Wild Bill Moore (tenor sax), Wilbert Baranco (piano), Gene Phillips (guitar), John "Shifty" Henry (bass), and Rabon Tarrant (drums). The songs were:
Let's Get Vooted
Boogie Man Blues
Don't Slam The Door
Blues In The Background, Parts 1 & 2
Don't Forget I'm A Married Man
Women's Blues, Parts 1 & 2
Don't Fall In Love With Me Baby
Home Coming Blues
December 5, 1945: Duke Henderson (vocals), Jesse Perdue (trumpet), Marshall Royal (alto sax), Jack McVea (tenor & baritone sax), Bob Mosley (piano), Gene Phillips (guitar), Frank Clarke (bass), and Rabon Tarrant (drums). The songs were:
Oo' Wee Baby, Oo' Wee
Get Your Kicks
Lottery Blues
Wiggle Wiggle Woogie
Bel-Tone released all the "Bob Mosely & All Stars" recordings in February 1946: "Baggin the Boogie" was coupled with "Voot Rhythm" and "Stormy Mood" was paired with "Bee Boogie Boo".
"Gene Phillips And His 'Little' Big Band" appeared at Tony's Ballroom in the Starlite Club (San Pedro; a neighborhood in Los Angeles) starting on May 26, 1946. This was the only time that name was used for the combo.
The column written by Mrs. J. T. Gipson in the June 20, 1946 California Eagle told us that "Gene Phillips and orchestra have taken over the Bengazi Breakfast Club." J. T. Gipson was the paper's regular columnist, but his wife did the column when he had a long hospital stay.
In August 1946, Apollo released "O-Kay For Baby" and "Don't Blame Me" by "Jack McVea & His All Stars" (with Gene's name on the label as guitarist). They were reviewed in the September 7 Billboard:
Backed by a small band with a biting beat that really lifts, it's entirely relaxing and righteous for the brand of jazz that spins out from the tenor sax of Jack McVea and the assisting music makers. Plenty of interest in his slow and moody phrasings for the "Don't Blame Me" ballad. And in contrasting jump style, it's plenty okay for Benny Carter's "O-Kay For Baby". Not only does McVea ride out handsomely, but the trumpet of Johnny Buckner and the Steinwaying of Bob Mosley keeps pace with their improvising. Side really jumps. The hop-skip-and-holler set will get plenty of kicks for their coins in "O-Kay For Baby".
Supposedly Jake Porter brought Gene to the attention of Modern Records, where, on September 16, 1946, Gene had his first session as bandleader (and would also do the vocals on all Modern sides that weren't instrumentals). The group on this session (probably put together by Porter) consisted of: Gene Phillips (guitar and vocals), Jake Porter (trumpet), Marshall Royal (alto sax), Maxwell Davis (tenor sax), Lloyd Glenn (piano), Art Edwards (bass), and William Street (drums). Except for Edwards, I doubt that any of them were in the Rhythm Aces that Gene appeared with (although the recordings were credited to "Gene Phillips & His Rhythm Aces"). The tunes (all of which have Gene's vocals, except the instrumental "304 Boogie") were:
Stinkin' Drunk
I Could Make You Love Me
Boogie Everywhere
304 Boogie
On September 10, 1946 Gene was part of a Lloyd Glenn Aladdin session. The musicians were: Lloyd Glenn (piano), Henry Hayes (alto sax), Gene Phillips (guitar), Herman Washington (bass), and Willie Threats (vocal). The two songs I know about were:
All Alone Blues
Hayes' Boogie
They'd be issued the next month as "Four Kings, Henry Hayes Leader" (with Willie Threats the vocalist on both sides). You'll find the release information for all the Lloyd Glenn sessions in the discography.
On January 30, 1947, Gene (the Rhythm Aces not mentioned) was part of a KFWB tribute to the National Foundation For Infantile Paralysis (polio). The ad trumpeted "The greatest array of talent ever gathered at one place at one time". While that was hype, they weren't far off. Others appearing were: Peggy Lee, Frankie Laine, the Basin Street Boys, Hadda Brooks, Hoagy Carmichael, Johnny Mercer, Johnny Moore, Jack McVea, the Pied Pipers, Andy Russell, Dinah Shore, Charlie Spivak, Phil Harris, Benny Goodman, Helen Forrest, Slim Gaillard, Dick Haymes, Woody Herman, Betty Hutton, Harry James, Jo Stafford, Mel Torme, Margaret Whiting, Betty Hall Jones, Herb Jeffries, Spike Jones, and Paul Weston's orchestra. It was held outdoors at the KFWB building.
Gene's next Modern session was held on March 11, 1947 with unknown musicians. Only three songs were recorded:
Big Fat Mama
Three O'clock In The Morning (which also has some band vocals)
Cherry Red (aka "Great Big Pretty Legs").
On April 23, 1947, the Rhythm Aces appeared on the Billy Berg radio show, broadcast from his club. Billy Eckstine, who was appearing at the club, was the main artist, along with Mabel Scott (also at Berg's). Presumably the Rhythm Aces were also at the club, but there were no ads and they weren't mentioned in papers. Announced by Berg (although the members weren't identified), they sang "I Could Make You Love Me".
In May, Modern Music issued the first two records by Gene Phillips & His Rhythm Aces. The first of these was "I Could Make You Love Me", backed with "Boogie Everywhere", both from his first session. (Note: some copies say "Gene Phillips Sextette". Also note that the original name of the label was "Modern Music"; it would soon be re-branded as just "Modern".) The second May release was "Big Fat Mama" (originally done by Lucky Millinder back in 1942), coupled with the standard "Three O'clock In The Morning".
NOTE: While Gene's name appears on the labels as sole writer of many songs, by the time they got registered with BMI, Modern's Joe Bihari had added his name (sometimes as his pseudonym of "Joe Josea").
Gene's next Modern session took place on June 21, 1947. Again, we don't know the musicians, but the four tunes were:
Big Legs
Hey Lawdy Mama
Just A Dream
Honey Chile
"Hey Lawdy Mama" was the same song that had been done by the Flennoy Trio. It had been recorded after Gene had left them, but he must have been there when they were practicing it. As I said, "Honey Chile" had been done by the Flennoy Trio as "My Honey Chile".
Gene turned up at the Cricket Club on July 1 as one of the acts at an after-hours party to welcome Kansas City's Julia Lee.
Modern Music re-released "Big Fat Mama" and "Three O'clock In The Morning" on the re-named Modern label, probably in July.
In July, Modern issued "Big Legs", backed by "Just A Dream". They were reviewed in the August 8, 1947 Billboard and the September 1 Cash Box:
Billboard: With a small jazz group pouring on the rhythmic contagion, Gene Phillips shouts the lyrics in a righteous fashion for these race sides. Topside [Big Legs] carries a conventional blues item chanted in typical race fashion. With full rhythmic feel in his pipes, he offers a meaningful reading of the race face, Just A Dream. A nickel nudging couplet at race locations with Just A Dream getting the choice spin.
Cash Box: Gene Phillips goes to town with a grand hunk of race wax on the topside, "Big Legs", opening with a wailing chant and then showing off with some hot instrumental licks by his Rhythm Aces while he wails out the vocal to the gal with the big legs. On the flip, "Just A Dream", Gene again handles the vocal and presents some neat lyrics over on the humorous side, backed by a fine piece of instrumental business from his boys, to cut another swell side. Here's a disk that's surefire in any race spot.
Although never a national hit, "Big Legs" made Cash Box's "Hot In Harlem" chart from September 15 to November 11, rising as high as #4. It also did well in Columbus, Georgia. However, based on a September Modern ad, the company thought that "Just A Dream" would be the hit side.
Gene, along with the Tiny Hill Sextet, entertained at a beauty contest held at the Pueblo del Rio Hall on August 9, 1947. I suppose he was with the Rhythm Aces (whoever they might have been), but few ads and blurbs mention them at all.
Cash Box reviewed the Modern re-release of "Big Fat Mama" in their August 25 edition:
Here's Gene Phillips - plenty brown and lowdown. While Gene wails for a "Big Fat Mama", you'll hear many a coin pop into jukes in race spots all over the land. Fast tempo, plus good melody, to make up a very nice hunk of wax. On the flip, Gene adds a few variations to that great standard, "Three O'clock In The Morning". But it's the topside that has the big play possibilities.
Gene's next Modern session took place on September 9, 1947. The four songs were:
Punkin Head Woman
Fatso
I Want A Little Girl
Rock Bottom
They also sang "Happy Birthday" to Jules Bihari (which made it to the studio tape). "I Want A Little Girl" is the same song that had been done by Big Jim Wynn's Bobalibans (with a vocal by Luther Luper) back in 1945. In the future, it would also be recorded by Earl Robinson & the Scamps, the Progressive Four, the Radars, and even Ray Charles.
The September 10 Down Beat said "Gene Phillips, who fronts five pieces at the Frontier in Ocean Park, had his option picked up a month early in spite of the fact that his discing of Big Legs was banned by many local jockeys."
A couple of days later, the Valley Times said: "Gene Phillips and his boys will be 'beating out' a few this weekend at Larry Potter's . . . Gene is the combination song writer and band leader you have heard guest starred on the air waves many times." He was there on September 12 and 13.
Modern released two more Rhythm Aces records in September: "Fatso", backed with "Rock Bottom", and "I Could Make You Love Me", coupled with "Boogie Everywhere". The latter disc was advertised in a Chicago record store ad on October 18. The former was reviewed in the October 27 Cash Box:
Pair of sides by comer Gene Phillips currently riding high on the boxes with his version of "Big Legs" comes a calling to rate like a spade flush. You'll go for Gene as he beats it out to "Rock Bottom", side with a heavy mood set way down low. Mood is mellow all thru with the warbling coming thru in fine manner. On the flip with more stuff aimed at your race spots, Gene offers the cute wordage to "Fatso". Side continues the merriment set on the top deck and should meet with wide approval on the part of a host of phono ops. That Gene is well loaded down with heavy possibilities is established on this pairing. Get next to the boy - but pronto.
And another Gene Phillips Modern session: October 17, 1947. By this time, there were rumblings that James Petrillo, head of the American Federation Of Musicians, was planning another recording ban for the following year. Record companies were starting to accumulate recordings in order to have product to sell in 1948. This session has Lloyd Glenn on piano and Al "Cake" Wichard on drums, but the rest are, once again, unknown. There were only three songs recorded, since it took nearly 15 takes, all told, to get decent results:
I've Been Fooled Before
Hey Now (first try)
Gettin' Down Wrong
"Gene Phillips with His Famous Blues Recording Band" was at the Last Word (Los Angeles) on October 23, along with T-Bone Walker and Ginger Smock. The ad said "Positively Last 8 Days", but I don't know when they started (they were "coming attractions" on October 9). Actually, the last "8 days" referred to T-Bone Walker. When Little Miss Cornshucks came in to replace him on October 31, Gene and Ginger were kept on, at least for another couple of weeks.
On October 27, 1947 Gene was part of the backup to Amos Milburn on an Aladdin session. Amos was on piano and Maxwell Davis was on tenor sax, but aside from Gene, I don't know the other musicians. The songs (see release information in the discography) were:
Train Time Blues
What Can I Do
Bye Bye Boogie
Pot Luck Boogie
The next day, Gene had his own Modern session, in which he recorded
Superstitious Woman
You Gotta Toe The Line
Hey Now (second try; the one ultimately released)
Gene Jumps The Blues
New Flying Home
And he had another Modern session on November 11, 1947. By this time, the Petrillo Ban had been announced (starting January 1, 1948, union musicians were forbidden to record), and around-the-clock recording sessions were now the rule. There were only three songs recorded that day:
Crying Won't Help You None
It's Raining
Short Haired Ugly Woman
Gene was still at the Last Word at the end of November, along with Little Miss Cornshucks and Amos Milburn. He'd be there until sometime in January 1948.
On November 21, 1947, Gene had another Modern session. The only known musicians were Lloyd Glenn (piano) and Maxwell Davis (sax). They produced:
Honky Tonk Train Blues
How Long How Long Blues
Jumpin' With Lloyd
Ramblin' Woman
In early December 1947, Gene had another session with Lloyd Glenn, this time for Imperial. The musicians were: Lloyd Glenn (Piano), Jake Porter (trumpet), Marshall Royal (alto sax), Gene Porter (tenor sax), Gene Phillips (guitar), Art Edwards (bass), and Bill Street (drums).
Joymakers Boogie (instrumental; aka "Soldier's Hop")
Advice To A Fool
That Other Woman's Gotta Go
Fried Chicken Boogie (aka "Rampart Street Jump").
And one more Lloyd Glenn Imperial session, this one on December 26, 1947. This time, the cast was: Lloyd Glenn (piano), Gene Phillips (guitar), Billy Hadnott (bass), and Geraldine Carter (vocal). The four tunes were:
Texas Man
Stranger
Midnight Boogie (instrumental; aka "Rockin' Boogie")
Boogiology (instrumental; aka "Brazos Bottom")
Gene's last 1947 Modern session was held on December 22, 1947. The four tunes were:
Snuff Dippin' Mama (note: it's not "Drippin'")
Gene's Guitar Blues
Broke And Disgusted (aka "It's A Lonely World")
Royal Boogie
Trumpeter Jake "King" Porter held three sessions for Imperial in December 1947. They all have Gene as guitarist (but not as vocalist; that was Alton Redd). Also on the sessions were Marshall Royal (alto sax), Bumps Myers (tenor sax), Gene Porter (bass), Art Edwards (bass), Bill Street (drums), and either Charlie Davis or Lloyd Glenn (piano). Once again, see the discography for release information.
December 19, 1947: "Charlie The Boogie Man" (band vocals), "Bumps Boogie", "Hey! Little Brownie", and "Should Have Rationed Myself ".
December 23, 1947: "Day's Work", "Down Home Blues", "Goodbye Doretha", and "That Early Morning Boogie" (vocal: Betty Hall Jones).
December 30, 1947: "Chittlin' Ball", "She Ain't No Hand Me Down", "Love Drops In My Stew", "Don't Let Fletcher Getcha" (instrumental), "Goin' Back To Texas", and "Baby What's The Matter With You". (Note: there are two unaccounted-for master numbers in this session.)
Based on California Voter Registration records, Gene and Lena were still living together in 1948, but it wouldn't last.
In January 1948, Modern released Gene's "Hey Now", backed with "Punkin Head Woman". "Hey Now" was the second version, from the October 28, 1947 session. The disc was reviewed in the January 31 Billboard:
Punkin Head Woman (73): Phillips shouts the blues a la Eddie Vinson; solid shuffle rhythm backing except for poor guitar.
Hey Now (79): A Louis Jordan type novelty delivered in the Jordan style effectively. [Note that Gene was compared to Louis Jordan on many occasions, but never achieved Jordan's popularity. (Probably because Modern couldn't possibly compete with Decca.)]
Gene and "his recording orchestra" played for dancing during and after a Battle Of Blues at the Elks Hall on February 8, 1948. The singing participants were Wynonie Harris, Clarence Samuels, Charles "Crown Prince" Waterford, Jimmy Witherspoon, and Big Joe Turner.
On February 22, Gene was a guest artist at the First Annual Club Festival, held at Club Congo. He seems to have been by himself.
In March, Modern issued "Honky Tonk Train" (whose label also credits Lloyd Glenn on piano), coupled with "Hey Lawdy Mama". Down Beat reviewed them in its April 7 edition. They gave "Train" two stars (actually two notes) and "Mama" three.
Train, of course, is the old Meade Lux Lewis boogie, and the band arrangement is much like the old Crosby score, principally piano and rhythm. Pianist Lloyd Glenn plays it capably enough, but the whole side is too much on the order of a reissue of something you've heard before. Mama is a happy jazz blues shout and has a contagion of feeling similar to wax cut on the scene at jazz concerts. After leader Phillips' lively vocal, tenor [sax] and trumpet each get a couple on the usual blues chord sequence.
The May 13, 1948 California Eagle had this: "Gene Phillips, one of the top favorites of local niteries, will be giving the audiences their money's worth when he appears at the Beaux Arts Theater, 8th and Beacon St., Saturday night [May 15] with his guitar and blues singing." As with this one, only Gene was mentioned in many ads and blurbs (that is, no group).
Four more Modern records. In May, there was "Stinkin' Drunk" and "Royal Boogie". Those were followed by two releases in August: "Ramblin' Woman", backed with "Gettin' Down Wrong" and "Flying Home", coupled with "Superstitious Woman". September's entry was "Honey Chile", paired with "I've Been Fooled Before".
Only the second of those was reviewed, in the August 28, 1948 Cash Box:
Gene Phillips, with grand backing from his Rhythm Aces, does one of the very grandest blues shoutin' laments of his career on this topside, "Gettin' Down Wrong". "Baby, you're getting' down wrong", laments Gene, and how he laments, with a blue and gone rhythm in his voice. On the flip, "Ramblin' Woman", he shouts the side about leavin' women all alone that'll have many a guy agreein' with him. Just grab hold of this disk and spin it.
He made J. T. Gipson's California Eagle column twice in November:
November 4: On The Bronzeville Scene: Lena Phillips (Gene's wife) who has a lovely personality and the prettiest pair of legs ever you seen! [sic]
November 11: Gene Phillips plays music for a hobby. The famed blues singer/guitarist is now a radio technician. Remember what I said a few columns back: Musician's gotta eat too, ya' know.
I guess he needed a steadier income, although he continued to record both in his own name and behind others. However, there's no other mention of him being a "radio technician" or anything other than a musician.
On February 28, 1949, Gene participated in another Amos Milburn session for Aladdin. These had Maxwell Davis on tenor sax, Gene Phillips on guitar, Ralph Hamilton on bass, Jesse Sailes on drums, and Amos Milburn on piano. There were five songs recorded (once again, release information will be found in the discography):
In The Middle Of The Night
Won't You Kinda Think It Over
Jitterbug Fashion Parade
Where Are You
My Luck Is Bound To Change
The June 2, 1949 California Eagle ran a photo of Gene with the caption "Gene Phillips - Noted and popular guitarist, now with the swingsational band of Jake Porter."
Probably in August 1949, Gene was guitarist on a Jimmie Hudson session for Exclusive. Jimmie sang three songs: "Rum River Blues", "Falling In Love With You", and "I'll Never Love Anyone Else". Additionally, Gene recorded one vocal at the session: "Big Bug Boogie". These were all released in September. We'll see "Big Bug Boogie" pop up again many years later.
"The Gene Phillips Trio" appeared on a TV show called Strolling Down "Adam's Alley" (over KLAC, Channel 13) on September 14, 1949 at 7:30. Also appearing was Billy Eckstine, Anita Echols, and the Rosa Lee Angelic Chorus. Naturally, nothing named the members.
On November 10, 1949, Gene played the Hawaiian guitar on a Johnny Otis Savoy session, along with Lee Graves (trumpet), Don Johnson (trumpet), George Washington (trombone), Lorenzo Holden (tenor sax), James Von Streeter (tenor sax), Walter Henry (baritone sax), Devonia Williams (piano), Pete Lewis (guitar), Mario Delagarde (bass), Leard Bell (drums), and, of course, Johnny Otis (vibes and drums). The three songs I know about are (you can hear Gene's Hawaiian guitar clearly on the last two):
There's Rain In My Eyes (vocal by the Robins)
Hangover Blues (Johnny Otis Orchestra; instrumental)
Get Together Blues (vocal by Little Esther and Junior)
See the discography for release information.
Gene had another Modern session on December 9, 1949, this time with Jack McVea's orchestra - Lee Jones (piano), Clarence Jones (bass), Sammy Yates (trumpet), Marshall Royal (alto sax), Charles Thompson (drums), and McVea on tenor sax. The songs were:
I Wonder What The Poor Folks Are Doin'
Slippin' And Slidin'
You Can't Come Back Home
See See Rider Blues
And even another one on February 2, 1950. (McVea's musicians are unknown, but probably somewhat similar to the prior session.) Another four songs:
To Each His Own Brother
My Mama Told Me
My Baby's Mistreatin' Me
Women Women Women
Of the eight songs in the two sessions, six would be released (as "Gene Phillips with Jack McVea & His Orchestra").
Modern released "Slippin' And Slidin'", backed with "See See Rider Blues" in February 1950. They were reviewed in the March 11 Billboard:
Slippin' And Slidin' (82): Phillips reminds of Louis Jordan in his delivery of a fast blues. He's spelled by a potent guitar "go". Could score in rhythm boxes.
See See Rider (75): The Ma Rainey blues is handled in forced fashion by Phillips. Tho over-all the disking is a fine treatment of the song.
But there was trouble in Paradise. In the April 1950 census, Gene was separated from Lena. They'd subsequently divorce which led, according to Jake Porter, to Gene taking up heavy drinking. This would ultimately ruin his career. (And, in the census, he's a "musician", not a "radio technician".)
Modern released "To Each His Own Brother" and "I Wonder What The Poor Folks Are Doin'" in April. They were reviewed in the April 15, 1950 Cash Box:
Featured on the shellac above ["Brother"], Gene Phillips and the Jack McVea orch team up to turn out a first class biscuit. A clever lyric, expert tonsiling with a voice pitch set to catch the mood of the ditty from shriek to moan, and a compulsive beat with hand clapping and the hollered comments to McVea add up to real drive. Underside ["Poor Folks"] is a depression motif with rhythm wailing and a moving vocal complaint by Gene.
Modern's June release was "You Can Come Back Home", backed with "Women Women Women". The label had an error: "You Can" should have been "You Can't".
On July 16, Gene was one of the acts at Frank Bull and Gene Norman's Blues & Rhythm Jubilee, held at L. A.'s Shrine Auditorium. The other acts included Jimmy Witherspoon, Helen Humes, Pee Wee Crayton, the Roy Milton Orchestra, Eddie Williams' Brown Buddies, Lil Greenwood, and the Joe Lutcher Orchestra. Although Gene wasn't listed in the ad, he sang "What's The Matter" and "Rear End Blues". His performance was recorded and would eventually be released.
Another backup job: Gene backed Percy Mayfield on two Specialty sessions. See the discography for release info.
August 16, 1950: "Please Send Me Someone to Love", "Prayin' For Your Return", "Strange Things Happening", and "Life Is Suicide".
October 23, 1950: "What A Fool I Was", "Lost Love", and "Nightless Lover".
The October 28 Billboard told us that Modern was about to come out with LPs to sell for $2.85. They started with a series that had various artists, and Gene ended up on at least two of them (I haven't seen track listings for the others):
2003 Modern Records - Volume 3 [various artists] - ca 10/50
Big Legs - all other songs by other artists
2005 Modern Records - Volume 5 [various artists] - ca 11/50
Rock Bottom - all other songs by other artists
In November, Modern's RPM subsidiary reissued two 1947 Gene Phillips masters: "Big Fat Mama" and "Rock Bottom". They were reviewed in the December 16 Billboard:
Big Fat Mama (81): Phillips, in Louis Jordan style, tackles a 1950 approach to the once-upon-a-time Lucky Millinder hit. Live, rocking rendition could score.
Rock Bottom (67): Another go a la Jordan raises some steam over a rather inconsequential rhythm piece.
In December 1949, there were some songs recorded for Swing Time with the following cast: Lloyd Glenn (piano), Gene Phillips (Hawiian guitar), and Billy Hadnott (bass). The two instrumentals were: "Levee Blues" (with lots of Gene's guitar) and "Brazos Bottom", which was the same song as "Boogiology". Or maybe not. I'm suspicious of this session. I'm wondering if these aren't Imperial masters. "Brazos Bottom" and "Boogiology" sound like the same cut to me and the reported personnel is the same as on the December 26 1947 Imperial session. The way musicians moved around, that would be a rare coincidence. The songs were released, as Lloyd Glenn & Trio, around June 1950.
On January 29, 1951, the "Gene Phillips orchestra" appeared at a March Of Dimes dance at the El Sombrero Ballroom. Others who were to appear were Billy Eckstine, Nellie Lutcher, Jim Wynn's orchestra, Arthur Lee Simpkins, Dan Grissom, Ivory Joe Hunter, Louis Armstrong, Velma Middleton, Sammy Yates, Joe Liggins' Honeydrippers, Martha Davis, Mabel Scott, the Red Caps, Lillian Randolph, Amanda Randolph, Scatman Crothers, and the Harry James band.
In March, RPM issued those two live recordings from July 1950 ("Rear End Blues" and "What's The Matter"), although they'd been heavily edited. They were reviewed in the April 14 Billboard:
Rear End Blues (74): Jam session blues item with crowd noises and big echo; material is risqué, chanting and backing okay.
What's The Matter (74): Another jam session blues, here material is suitable for airing.
In August 1951, there was a single Gene Phillips release on Imperial: "She's Fit 'N Fat 'N Fine", backed with "Roustabout Blues". "She's Fit" was also done by the Billy Valentine Trio on Decca and released in September of that year. It had been recorded in early March, but I don't know when Gene's version was waxed. Actually, thanks to Bob Halverson, it looks like both those songs had been initially recorded for Rim Records in Burbank, with the Eddie Beal Trio. They were released on Rim at an unknown date, but probably earlier in 1951.
RPM issued two more old Gene Phillips recordings (both from 1947) in September: "Jumpin' With Lloyd" and "New Flying Home". Strangely though, Gene's name didn't appear on the labels at all. Some copies of these instrumentals attribute both sides to the "Lloyd Glenn All-Stars Featuring Maxwell Davis", others, released with the same record number, just credit "Maxwell Davis"
Sometime in late 1951, Modern reissued another two Gene Phillips oldies on a 45 ("Gene Phillips & His Orchestra"): "Honky Tonk Train" and "Flying Home".
On January 22, 1952, Gene did some recording with Johnny Otis for Federal Records. The cast of characters was: Preston Love (alto sax), Hampton Hawes (piano), Billy Hadnott (bass), Laird Bell (drums), Gene Phillips (guitar), and Johnny Otis (vibes). The four songs (all instrumentals except "Wango Blues", on which Gene sings) were:
September Song
Like A Ship At Sea
Strictly Cash
Wango Blues
Federal released "Wango Blues" in April, with label credit going to "Preston Love and His Orchestra; vocal by Gene Phillips". The flip was the instrumental version of "September Song". They were reviewed in the July 2 Down Beat:
Altoist Love lets loose September [4 stars] at a medium beat in a reading that builds, though it flogs most of the beauty of the Kurt Weill melody. Love's driving alto is spelled by some pleasing unbilled vibes.
Wango [2 stars] is a routine buck dance blues with an inadequate vocal by Gene Phillips; Love's persuasive horn bounds out the slicing.
Federal released "Strictly Cash" and "Like A Ship At Sea" in July, once again credited to "Preston Love and His Orchestra". While there are some sites that claim Gene is doing the vocal on "Ship", it's an instrumental.
The Bihari brothers set up another Modern subsidiary label, Blues & Rhythm. Run by Saul Bihari, the purpose was to phase out citified blues in favor of Country Blues. Two of Gene's old songs were re-mastered for the new label: "Big Legs" (now called "Great Big Pretty Legs") and "Honky Tonk Train" (now "Train Time Boogie"). They were released as "King Gene & His Orchestra" sometime in mid-1952.
When Aladdin issued Amos Milburn's "What Can I Do" in August 1953 (recorded back in October 1947), it became a tremendous hit. (Well, not really, it just happened to be the flip of "One Scotch, One Bourbon, One Beer", which Gene wasn't on.)
By December 1953, Gene was part of drummer Clifton Byron "Cee Pee" Johnson's band (and, yes, I know "Byron" doesn't start with "P"). Others in the band were Bill Jennings (bass), Wallace Huff (trombone), and Austin McCoy (piano). They appeared on December 19 at the Masonic Temple for the Eastside Welfare Association's Christmas Basket Fund dance. However, that's the only mention of Gene with Cee Pee Johnson.
The last original recordings with Gene's name on the label were issued in April 1954 on Combo. Credited to "Gene Phillips - Orchestra under the direction of Jack McVea", the tunes were "I Owe Everybody" and "Fish Man". They weren't reviewed.
On May 29, 1954 Gene was part of a troupe that returned from a three-week tour of military bases in Korea, Japan, the Philippines, and Hawaii. Led by Joe Adams "The Mayor Of Melody", it also included Eddie Beal, Shirley Haven, Suzette Harbin, Eddie Gomez, and Eddie Davis. As far as I can tell, this is the first time Gene left Los Angeles since relocating there in 1942.
On September 2, 1954, Gene was guitarist on an Oscar McLollie session for Modern. The cast was: Oscar McLollie (vocals), Johnny Parker (bass), Gordon Willey (trombone), Gene Phillips (guitar), Monk McFay (drums), Charles Thomas (piano), Maxwell Davis, (tenor sax), and Clyde Dunn (sax). In addition, the Flairs were brought in to do background work on all of them. These were all issued as Oscar McLollie & The Honeyjumpers (and, as usual, you'll find the release information in the discography):
Take Your Shoes Off Pop
Love Me Tonight
Hey Lolly Lolly
Hot Banana
Pretty Girl
There's a picture of Gene playing with pianist Meade Lux Lewis taken when they were at the Gay 90s in Minneapolis in July 1957. This is the only other time I know he left Los Angeles. The July 28 article in the Star Tribune said of Gene: "Guitarist Phillips, an avid fisherman and cook, has become fascinated with Minnesota's fresh-water fishing." Other than that "radio technician" blurb, this is the only personal item ever printed about Gene. (However, fame being what it is, the August 6 Star Tribune called him "Earl Phillips".)
The last time we hear of Gene Phillips, the entertainer, was in a California Eagle column on February 20, 1958. He was part of the cast of "Simply Heavenly", a musical comedy at L.A.'s Carmel Theater. Also in the cast was Helen Humes, Spencer Williams, and Fletcher Smith.
At some point, Gene became a junk man, having his own junkyard and presumably giving up music.
Remember that I said we'd run into Gene's father once more? Here he is. The May 11, 1960 Kansas City Star had a big article detailing how Clyde M. Phillips was the victim of a confidence scam called a "pigeon drop". I'll let you look up how that works, but Clyde got taken for $2100.
In 1963, Modern released a 10-song LP on their Crown Label. Called Gene Phillips And The Rockers. I don't know why it didn't mention the Rhythm Aces.
Note that there are some 1964 songs (like "Memphis" and "No Particular Place To Go") on the Twin Hits label, which are by another singer named Gene Phillips.
At an unknown date (but after 1965), Gene's "Big Bug Boogie" appeared on a Delta 45, although it had been retitled "Hey Bartender (There's A Bug In My Beer)". The flip was "The Party Starts At Nine" by the Tradewinds (or Trade Winds as it was spelled on the original 1965 release on Red Bird).
Eugene Floyd Phillips died, in Los Angeles, on January 10, 1990. As well as his drinking problem, Gene also suffered from diabetes.
I like Gene Phillips as a singer; record companies loved him as a guitarist. I'm sure I've left out many sessions that he was on, but I'm pretty sure I've accounted for all the songs with his name on the label.
BEL-TONE (Bob Mosely & All Stars - Gene Phillips on guitar)
751 Baggin the Boogie (voc Marion Abernathy) / Voot Rhythm (I) - 2/46
752 Stormy Mood (voc Marion Abernathy) / Bee Boogie Boo (I) - 2/46
APOLLO (Jack McVea & His All Stars)
761 O-Kay For Baby (I) / Don't Blame Me (I) - 8/46
MODERN MUSIC (Gene Phillips & His Rhythm Aces)
148 I Could Make You Love Me / Boogie Everywhere - 5/47
Note: some copies say "Gene Phillips Sextette"
20-519 Big Fat Mama / Three O'clock In The Morning - 5/47
MODERN (Gene Phillips & His Rhythm Aces)
20-519 Big Fat Mama / Three O'clock In The Morning - 7/47 [re-release]
20-527 Big Legs / Just A Dream - 7/47
20-546 Fatso / Rock Bottom - 9/47
20-548 I Could Make You Love Me / Boogie Everywhere - 9/47
20-559 Hey Now / Punkin Head Woman - 1/48
20-572 Honky Tonk Train (I) / Hey Lawdy Mama - 3/48
20-586 Stinkin' Drunk / Royal Boogie (I) - 5/48
20-603 Ramblin' Woman / Gettin' Down Wrong - 8/48
20-614 Flying Home (I) / Superstitious Woman - 8/48
20-625 Honey Chile / I've Been Fooled Before - 9/48
EXCLUSIVE (Gene Phillips; he's playing guitar on the flip)
130 Big Bug Boogie / [Falling In Love With You - Jimmie Hudson] - ca 9/49
MODERN (Gene Phillips with Jack McVea & His Orchestra)
20-733 Slippin' And Slidin' / See See Rider Blues - 2/50
20-743 To Each His Own Brother / I Wonder What The Poor Folks Are Doin' - 4/50
20-756 You Can Come Back Home (aka You Went Away) / Women Women Women - 6/50
(Note: label misprint - "Can" should be "Can't")
MODERN LPs
2003 Modern Records - Volume 3 [various artists] - ca 10/50
Big Legs - all other songs by other artists
2005 Modern Records - Volume 5 [various artists] - ca 11/50
Rock Bottom - all other songs by other artists
RPM (Gene Phillips; subsidiary of Modern)
312 Big Fat Mama / Rock Bottom - 11/50
319 What's The Matter / Rear End Blues - 3/51
Above two songs were recorded live at the Shrine Auditorium
UNRELEASED MODERN
304 Boogie (instrumental; rec 9/16/46)
Cherry Red (Great Big Pretty Legs) (rec 3/11/47)
Happy Birthday (rec 3/11/47) - sung to Jules Bihari
I Want A Little Girl (rec 3/11/47)
Hey Now (first version - rec 10/17/47)
You Gotta Toe The Line (rec 10/28/47)
Gene Jumps The Blues (instrumental; rec 10/28/47)
Crying Won't Help You None (rec 11/11/47)
It's Raining (rec 11/11/47)
Short Haired Ugly Woman (rec 11/11/47)
How Long How Long Blues (rec 11/21/47)
Snuff Dippin' Mama (rec 12/22/47)
Gene's Guitar Blues (instrumental; rec 12/22/47)
Broke And Disgusted (rec 12/22/47) (aka It's A Lonely World)
My Mama Told Me (rec 2/2/50)
My Baby's Mistreatin' Me (rec 2/2/50)
RIM (Eddie Beal Trio - vocal by Gene Phillips; a California label)
1001 She's Fit 'N' Fat 'N' Fine / ? - ca 51
1002 Roustabout Blues / [Hungry Man Blues - vocal by Lee Gilbert] - ca 51
IMPERIAL (Gene Phillips)
5143 She's Fit 'N Fat 'N Fine / Roustabout Blues - 8/51
MODERN (Gene Phillips & His Orchestra)
45-128 Honky Tonk Train (I) / Flying Home (I) - late 51 (these are reissues on a 45 RPM)
FEDERAL (Preston Love & His Orchestra)
12069 Wango Blues (voc Gene Phillips) / [September Song (I)] - 4/52
BLUES & RHYTHM (as "King Gene & His Orchestra"; a Bihari label)
7005 Great Big Pretty Legs / Train Time Boogie (I) - mid-52
Originally "Big Legs" and "Honky Tonk Train"
COMBO (Gene Phillips - Orchestra under the direction of Jack McVea)
56 I Owe Everybody / Fish Man - 4/54
CROWN
CLP-5375/CST-375 Gene Phillips And The Rockers - 63
Rock Bottom
Big Legs
Crying Won't Help
It Was A Dream (aka Just A Dream)
Punkin Head
Cherry Red
Fatso
Lonely World (aka Broke And Disgusted)
It's Raining
You Went Away (aka You Can't Come Back Home)
DELTA (Gene Phillips)
2 Hey Bartender (There's A Bug In My Beer) / [The Party Starts At Nine - Tradewinds] - ?
A reissue of 1949's "Big Bug Boogie".
APOLLO (Rabon Tarrant with Jack McVea & His All Stars; vocals by Tarrant)
365 I Live True To You / Naggin' Woman Blues - 12/45
366 Listen Baby Blues / We're Together Again - 12/45
370 It Never Should Have Been This Way / [Tarrant Blues - from an earlier session] - 3/46
UNRELEASED APOLLO (Rabon Tarrant with Jack McVea & His All Stars)
Blues All Night (recorded 9/45)
Then I've Got To Go (recorded 9/45)
APOLLO (backing up Duke Henderson)
367 Oo' Wee Baby, Oo' Wee / Wiggle Wiggle Woogie - 2/46
373 Fool Hearted Woman / Lottery Blues - 6/46
Above two by Duke Henderson with Jack McVea and his All Stars
384 Women's Blues, Pt 1 / Woman's Blues, Pt 2 - 4/47
Above by Duke Henderson with John "Shifty" Henry and his All Stars
400 S. H. Blues / H. D. Blues - 9/48
Above Duke Henderson with Lucky Thompson & His All Stars
789 Home Coming Blues / [Boulevard Boogie - Wild Bill Moore] - 3/49
Above by "Wild" Bill Moore and his orchestra, vocal by Duke Henderson
ALADDIN (Four Kings, Henry Hayes, Leader; Willie Threats, vocal on both sides)
157 All Alone Blues / Hayes' Boogie - ca 10/46
APOLLO (Wynonie "Blues" Harris with Oscar Pettiford & His All Stars)
378 Everybody's Boogie / Time To Change Your Town - 11/46
387 I Gotta Lyin' Woman / Rebecca's Blues - 4/47
ALADDIN (Amos Milburn)
206 Bye Bye Boogie / Train Time Blues - 1/48
3023 Jitterbug Fashion Parade / [Gene not on flip] - 3/49
3026 Pot Luck Boogie / [Gene not on flip] - 5/49
3150 My Luck Is Bound To Change / [Greyhound] - 9/52
Note: most copies of "Greyhound" have "Kiss Me Again" as the flip; Gene wasn't on that one.
3197 What Can I Do / [One Scotch, One Bourbon, One Beer] - 8/53
IMPERIAL (King Porter [Jake Porter] & His Orchestra)
5015 Day's Work/Down Home Blues - ca 2/48
5018 Should Have Rationed Myself/Hey! Little Brownie - ca 2/48
5028 Bumps Boogie/Charlie The Boogie Man - ca 12/48
5032 That Early Morning Boogie/Goodbye Doretha - 1/49
5039 Chittlin' Ball/Don't Let Fletcher Getcha (I) - ca 6/49
5050 Baby What's The Matter With You/Goin' Back To Texas - ca 11/49
5052 She Ain't No Hand Me Down/Love Drops In My Stew - 12/49
EXCLUSIVE (Jimmie Hudson; Gene Phillips on guitar)
129 Rum River Blues / I'll Never Love Anyone Else - ca 9/49
SAVOY (Robins)
752 There's Rain In My Eyes / [I'm Living O. K.] - 6/50
IMPERIAL (Lloyd Glenn & His Joymakers)
5022 That Other Woman's Gotta Go / Rampart Street Jump (I) - ca 3/48
5025 Texas Man / Boogiology (I) - ca 7/48
5031 Joymakers Boogie (I) / Advice To A Fool - ca 12/48
5037 Fried Chicken Boogie (I) / Midnight Boogie (I) - 2/49
above as Lloyd Glenn & His Orchestra
5117 Fried Chicken Boogie (I) / Midnight Boogie (I) - ca 2/51
5129 Soldier's Hop (I) / Rockin' Boogie (I) - late 51
above as Lloyd Glenn & His Orchestra
NOTES: Imperial liked to reuse and rename songs:
Rampart Street Jump is the same song as Fried Chicken Boogie
Joymakers Boogie is the same song as Soldier's Hop
Midnight Boogie is the same song as Rockin' Boogie
SWING TIME (Lloyd Glenn & Trio)
199 Levee Blues / Brazos Bottom (same song as Boogiology) - ca 6/50
SPECIALTY (Percy Mayfield)
375 Please Send Me Someone To Love / Strange Things Happening - 9/50
390 Life Is Suicide / Lost Love - 1/51
400 What A Fool I Was / Nightless Lover - 4/51
408 Prayin' For Your Return / [My Blues - Gene not on this] - 7/51
REGENT (Johnny Otis Orchestra; subsidiary of Savoy)
1036 Hangover Blues (I) / [I Dream] - 3/51
RPM (Lloyd Glenn All-Stars featuring Maxwell Davis; also released, with the same number, as just by Maxwell Davis)
332 Jumpin' With Lloyd (I) / New Flying Home (I) - 9/51
From Rhythm Aces sessions on November 21, 1947 and October 28, 1947
SAVOY (Little Esther And Junior)
824 Get Together Blues / [Chittlin' Switch - Johnny Otis Ork] - 11/51
FEDERAL (Preston Love & His Orchestra)
12085 Strictly Cash (I) / Like A Ship At Sea (I) - 7/52
MODERN (Oscar McLollie & The Honeyjumpers)
932 Hot Banana / Wiggle Toe (I don't know if Gene is on this side) - 8/54
940 Love Me Tonight / Take Your Shoes Off Pop - 9/54
950 Hey Lolly Lolly / Pretty Girl - 1/55
