How fun and fulfilling to see Philip Paul (as well as Bootsy Collins and Otis Williams) included in the official photograph taken on the day when Jack White was awarded the key to the city on June 4, 2018 by Cincinnati mayor, John Cranley, while strategically positioned outside the original King Records headquarters in Evanston.
Philip Paul & Friends @ King Records
[Photo courtesy of Jack White]
[L to R: Bootsy Collins; Otis Williams; Jack White;
Mayor John Cranley; Anzora Adkins; Philip Paul]
Paul would recount for historian Steven C. Tracy in Going to Cincinnati: A History of the Blues in the Queen City (1993) the creative pressures of being a studio musician and the demands placed on the drummer by Syd Nathan to keep rhythms endlessly fresh:
Well, like I would get a call the same morning. You know, maybe 7 or 7:30 a.m. Can you get over here in a half hour? O.K. I’d get up and walk over there. And, uh, maybe the artist wouldn’t be there. But maybe whoever the A&R man was may have, would have a little riff or something in his head. He’d say, ‘It goes like this’ or something, you know? And we’d wait until the artist arrived, and the artist would sing. Maybe they couldn’t keep four bars together. But we’d work until we put something together. If it took all day … Yeah, with the little head sets. And they used all kinds of recording devices. But basically they never came, very seldom did they come in with charts for everybody and say play this, play this, play that. It was always – Syd Nathan wanted you to do something fresh all the time. I don’t care if you recorded three albums a day, he always wanted something different. He didn’t want the same beat on every tune. And you would have to sit there and come up with something. Because he would be in the booth hollering at you, you know. I look back on that and it was very insulting at the time, but it was a lesson also, because he provided musicians an opportunity to record under those conditions and see what recording was really about.
Getting the “right sound” at King would, for Paul, also involve the occasional use of kettle drums, wood blocks, and even a suitcase in place of a kick drum, points out Tracy.
Paul initially intersected with King Records in 1952 through his professional relationship with Tiny Bradshaw — whose group had the house band gig at Cincinnati’s top black nightspot, The Cotton Club, according to Tracy. Six months earlier, Bradshaw had first taken notice of Paul’s playing at the Savoy Ballroom. The next nine years with Bradshaw would serve as a proving ground:
We knew we had to work hard. Like we would play an hour set; he didn’t restrict us. We was basically a blues band, but we had, at times we had some guys in the band that were very good jazz players. Sonny Stitt played with us. Johnny Griffin played with us. Al Sears played with us. We had all kinds of musicians out of Duke [Ellington]’s band playing with us. So when they came in the band, even if it was for one night or two nights, they really had to work. Noble Watts, Sil Austin – oh God, we wore out tenor players. But Red [Prysock] was the backbone; he could really handle it.
It was through Bradshaw, as Tracy writes, that “Paul got hooked up with King, and countless sessions followed.” According to Brian Powers, Paul has played on over 350 recordings and, like Calvin ‘Eagle Eye‘ Shields, backed a number of King’s country artists, such as Bonnie Lou, Cowboy Copas, and Hawkshaw Hawkins (also Grandpa Jones, say both Tracy and Nager), even though documentation is similarly and frustratingly scant.
Paul – whose father (from St. Croix) played trumpet and uncle drummed professionally – grew up in Harlem. While in New York, according to Steven Tracy, “Paul played with Milt Larkin, recorded for Decca with Buddy Johnson, and cut some sides with Basie sidemen accompanying Jimmy Rushing.” As Powers notes in A King Records Scrapbook:
His career took off when he began playing with jazz musicians Eddie ‘Lockjaw‘ Davis, Sonny Stitt, Bud Powell and Dizzy Gillespie. He got a regular gig at the famed Savoy Ballroom in Harlem with Buddy Johnson’s Big Band that featured the great vocalist Arthur Prysock. Eventually Paul met bandleader Tiny Bradshaw whose drummer, Calvin ‘Eagle Eye’ Shields, was leaving the band. Bradshaw was impressed with Paul’s playing.
Paul’s ability to be on call as a session musician at King was facilitated by means of a house in Evanston “which Syd Nathan had helped him purchase,” points out Powers. Even after Nathan’s passing in 1968, Paul continued to forge a musical career, as Powers explains, that enabled him to remain rooted in Cincinnati but with the flexibility to tour as needed:
By the late 1960s, Paul began several years of recording for Columbia Records in New York as one-third of Roy Meriwether‘s hard-driving gospel-influenced trio. [Stone Truth and Popcorn & Soul, both LPs from 1966]. He played for six years at the Carrousel Inn on Reading Road in [Cincinnati’s Roselawn neighborhood], but also toured with jazz artists like Herbie Mann, Jimmy Smith and Nat Adderley throughout most of the country. He played festivals and clubs, including the famous Apollo Theater in New York. Paul has accompanied George Wein & the Newport All-Stars throughout the United States and Canada.
Philip Paul –
The Roselawn connection
Paul would eventually get “overdue” recognition for his contributions to music history, thanks to Larry Nager‘s profile “Keeping Time” in the October, 2009 edition of Cincinnati Magazine. Among Cincinnati’s household names and musical institutions, Nager notes unequivocally, “when it comes to impacting American music and culture, this quiet, unassuming octogenarian stands alone.” Furthermore, Nager cogently observes, “as America struggles to find something – anything! – we can sell to the world, the one unqualified success continues to be our music,” as Ebay prices in the new century for original vinyl make clear (see discography/listening section below).
In 2002, the Cincinnati Enquirer would bestow upon Paul a Lifetime “Cammy” (Cincinnati Area Music) Award as part of a select group, Legends of King Records. Cleveland’s Rock and Roll Hall of Fame & Museum, in 2009, would create a special exhibit, as part of its of Songwriters to Sound Men series, to celebrate the session work of Paul — who would also receive that same year an Ohio Heritage Fellowship, “the state’s highest honor for traditional artists,” notes Nager. Says the Ohio Arts Council: “The Ohio Heritage Fellowship program recognizes Ohio folk and traditional artists who are influential masters of their particular art forms and traditions, and whose work has had a significant impact on their communities.”
Philip Paul Trio
The Cincinnatian Hotel
[Photo courtesy of Bill Hulsizer]
The 21st century would find Philip Paul issuing his first album, 2003’s It’s About Time, on which he served as bandleader — supporting musicians would include Peter Frampton, Edwyn Conley, Kenny Poole, Steve Schmidt, and Mike Sharfe. The following year, Paul and Conley would comprise the rhythm section for Big Joe Duskin‘s final album, Big Joe Jumps Again!, joined by Frampton on two tracks, as well as producers, Larry Nager (bass) and William Lee Ellis (guitar). A 2016 Cincinnati Jazz Hall of Fame Inductee, Paul – who has been a weekly fixture at the Cincinnatian Hotel’s Cricket Lounge for countless years – would be feted in 2018 by Cincinnati’s Listernmann Brewing Company with a beer “Fas’ Foot Phil” named in his honor.
Philip Paul
[Photo courtesy of Bill Hulsizer]
Update:
April 8, 2020
Earliest Philip Paul Recordings
[Streaming audio – click on song titles below]
Big note of appreciation to Ben Levin, blues musician as well as scholar, who has been working behind the scenes to help deepen the understanding and appreciation of Cincinnati’s music history. Levin – who has performed with Philip Paul on a number of occasions, including WKRC’s Good Morning Cincinnati – helpfully suggested that I dig a little more deeply into Philip Paul’s earliest recordings for the Buddy Johnson Orchestra. Here are some of the things that turned up in the research.
First of all, a doff of the cap (once again) to the Europeans for their devotion to American music, as evidenced in the detailed musician credits for the Buddy Johnson compilation album, I’ll Dearly Love You, released in Sweden in 1989. Philip Paul is listed as drummer on the first three tracks = “Down Yonder”; “Li’l Dog” and “The Stars Fell on Alabama.” We know that Philip Paul recorded for Buddy Johnson prior to joining the Tiny Bradshaw Orchestra in 1951, but it is a challenge to validate exactly which other recordings he played on besides those three titles. This Philip Paul discography from Switzerland provides a couple more clues. Skim past the album listings and note that Paul is linked to two other recordings – “I’m Gonna Jump in the River” (with vocalist, Ella Johnson) and “Root Man Blues.” 45Cat says “Jump in the River” was released January 1952, while “Root Man Blues” was released the following month. Are these Paul’s final recordings with the Buddy Johnson Orchestra?
Once more, Europe helps us unearth our country’s own jazz history in this “Enciclopedia del Jazz” webpage tribute to Buddy Johnson that lists Philip Paul on a New York City recording session that produced “Jump in the River,” “Root Man Blues” and two other tracks – “Till My Baby Comes Back” (with Ella Johnson) and “My Aching Heart” (with vocalist, Arthur Prysock). Also, fascinating to find this related bit of history in Nelson Harris’s Roanoke Valley in the 1940s:
Buddy Johnson and his orchestra played for a dance at the American Legion Auditorium on September 23 [1948]. Vocalists were Ella Johnson, Arthur Prysock, and the Four Buddies. Johnson was known for his hits ‘Baby Don’t You Cry,’ ‘Since I Feel For You,’ ‘Fine Brown Frame,’ and ‘Li’l Dog.’ White spectators were admitted.
Also, from the Nov. 13, 1948 issue of Billboard:
Betty Lou Purvis, WPGH, Pittsburgh, reports that Buddy Johnson’s Decca ‘Li’l Dog’ is pulling heavy mail and a phone response on her Strictly Jazz show.
Similar report in Billboard’s Nov. 20, 1948 edition:
Don Potwin, KYAK, Yakima, Wash., says: ‘Buddy Johnson’s Decca ‘Li’l Dog’ receives the most comment from my listeners. People ask me to incorporate it into my theme, which I did.
Lastly, this Wikipedia page for Buddy Johnson lists all his single releases. As I scan the song titles from “Li’l Dog” all the way down to “Root Man Blues,” would love to know which of these recordings feature Philip Paul’s drum work –- especially want to know, for instance, if Mr. Paul played on the flip side of “Down Yonder,” “Did You See Jackie Robinson Hit That Ball.”
A Philip Paul Jukebox!
King Recording Session Chronology:
1952-1964‡
[‡Source: The King Labels: A Discography
edited by Michel Ruppli & Bill Daniels]
<Streaming audio – click on song titles below>
Tiny Bradshaw & His Orchestra [Philip Paul (drums), Clarence Mack (bass), Jimmy Robinson (piano), Red Prysock & Rufus Gore (tenor sax), Ted ‘Snooky’ Hulbert (alto/baritone sax), Andrew Penn (trombone), and Leslie Ayres & Lester Bass (trumpet)]
Recorded Oct. 6, 1952
Cincinnati’s King Studios
‘Soft‘ King LP:
Issued in Switzerland as Tiny Plays Tiny Bradshaw
Bull Moose Jackson (vocals) w/ Tiny Bradshaw’s Orchestra [Philip Paul (drums), Clarence Mack (bass), Jimmy Robinson (piano), Red Prysock & Rufus Gore (tenor sax), Ted ‘Snooky’ Hulbert (alto/baritone sax), Andrew Penn (trombone), and Leslie Ayres & Lester Bass (trumpet)]
Recorded Oct. 6, 1952
Cincinnati’s King Studios
“Big Ten-Inch Record” 78s & 45s –
Two & three figures at auction
Tiny Bradshaw & His Orchestra [Philip Paul (drums), Clarence Mack (bass), Jimmy Robinson (piano), Red Prysock & Curtis Ross (tenor sax), Andrew Penn (trombone) & Lester Bass (trumpet)]
Recorded Jan. 19, 1953
Cincinnati’s King Studios
1954 King LP
$100 at auction in 2022
Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Jimmy Robinson (piano), Sil Austin & Rufus Gore (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
- “Powder Puff“
- “South of the Orient“
- “Later“
- “Ping Pong“
Recorded Jul. 29, 1953
Cincinnati’s King Studios
1954 ‘Tiny Bradshaw Plays‘ King EP
All tracks written by Tiny Bradshaw & Henry Glover
Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Jimmy Robinson (piano), Sil Austin & Rufus Gore (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
Recorded Apr. 5, 1954
Cincinnati’s King Studios
“Overflow“
Written by Henry Glover
Wynonie Harris (vocals), with backing from Philip Paul (drums), James Royal (bass), Clarence Kenner (guitar), Fred Clark (alto sax), David Brooks (tenor sax) & Tommy Purkson (baritone sax)
Recorded Apr. 14, 1954
Cincinnati’s King Studios
“Don’t Take My Whiskey Away From Me“
Issued in Australia
The Midnighters [Hank Ballard (lead) + Charles Sutton, Henry Booth & Sonny Woods (vocals), with backing from Philip Paul (drums), Clarence Mack (el bass), Arthur Porter (guitar), Eddie Smith (piano), Charles ‘Buddy’ Montgomery (vibes) & Sil Austin (tenor sax)]
Recorded Apr. 24, 1954
Cincinnati’s King Studios
“Sexy Ways” – according to Billboard:
One of 1954’s top 10 R&B records
(sales & jukebox)
Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Clarence Kenner (guitar), Jimmy Robinson (piano), Rufus Gore & Noble Watts (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
- “Light“
- “Stack of Dollars“
- “Choice“
- “Cat Fruit“
Recorded Sep. 1, 1954
Cincinnati’s King Studios
1955 ‘Light & Choice‘ King EP
$100 at auction in 2014
Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Jimmy Robinson (piano), Clifford Bush (guitar), Leon Burns & Lovejoy Coverson (tenor/baritone sax), Rufus Gore (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
Recorded Jan. 11, 1955
Cincinnati’s King Studios
“Cat Nap” – penned by Al Sears
[Jazz Legacy Tweet #12]
King “bio disc“
Rufus Gore (tenor sax & vocals), with backing by Philip Paul (drums), Sam Jones (bass), Mickey Baker (guitar) & Duke Parham (piano)
- “Firewater“
- “Ghost Walk“
Recorded Feb. 24, 1955
New York City studio
“Firewater” – written by Henry Glover
Paul’s lone session recorded outside of Cincinnati?
The Admirals [unnamed vocalists and uncredited musicians; however, it is almost certain that the musicians listed directly above on the Rufus Gore session played on this session] Philip Paul (drums), Sam Jones (bass), Mickey Baker (guitar), Duke Parham (piano) & Rufus Gore (tenor sax)
[2nd day in NYC for Philip Paul]
Recorded Feb. 25, 1955
New York City studio
“Give Me Your Love“
“Admirals were discovered by Henry Glover“
*
Bill Jennings Quintet [Bill Jennings (guitar), Philip Paul (drums), Jackie Wilson (piano), Paul Henry Sparks (guitar) & Albert Jennings (vibes)]
- “Willow Weep for Me“
- “Day Train“
- “Glide On“
- “Three Little Words“
- two unissued tracks
Recorded Jul. 24, 1955
Cincinnati’s King Studios
Bill Jennings on King Records
three and even four figures at auction
John Puckett Trio [John Puckett (piano & vocals), Philip Paul (drums) & Edwyn Conley (bass)]
- “Bluesicale“
- “Autumn In New York“
- “Walking With Ed“
- “Dottie My Love“
- “You’d Be So Nice To Come Home To“
- “In A Sentimental Mood“
- “Twisted“
- “Memories Of You“
- “East Of The Sun“
- “Alone Together“
- “Careless“
- “Time After Time“
Recorded Jun. 7, 1957
Cincinnati’s King Studios
12 songs comprise John Puckett‘s sole release –
Tiny Topsy & the Charms (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), John Faire & Arthur Porter (guitar), Ivory Joe Hunter (piano) & Ray Felder (tenor sax)
Recorded Oct. 2, 1957
Cincinnati’s King Studios
Tiny Topsy “mit orchester”
Single issued in Germany & the UK
Titus Turner (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), Clifford Bush (guitar), Jon Thomas (piano) & Ray Felder (tenor sax)
Recorded Nov. 7, 1957
Cincinnati’s King Studios
“Hold Your Loving“
45 can fetch three figures at auction
Earl Connelly King (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), Clifford Bush (guitar), Jon Thomas (piano) & Ray Felder (tenor sax)
Recorded Nov. 7, 1957
Cincinnati’s King Studios
“Every Whicha Kinda Way“
Over $300 at auction for this A-side co-written by Titus Turner & Henry Glover
Reissued in the UK in 2012
Tiny Bradshaw (vocals), with backing from Philip Paul (drums), Clarence Mack (bass), Clifford Bush (guitar), Jon Thomas (piano), Ray Felder (tenor sax) & Osborne Whitfield (flute)
- “Short Shorts“
- “Bushes“
Recorded Jan. 16, 1958
Cincinnati’s King Studios
“Bushes“
Written by Henry Glover
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul & George De Hart (drums), Navarro Hastings (el bass), John Faire (guitar), Jimmy Johnson (piano), JC Davis & Henry Moore (tenor sax) & Mark Patterson (trumpet)
Recorded Aug. 6, 1959
Cincinnati’s King Studios
“Look At Little Sister“
Cash Box “Award o’ the Week” winner –
week ending Dec. 5, 1959
The Five Keys [According to Marv Goldberg’s R&B Notebooks, the group began singing sacred music as The Sentimental Four, which brought together two pairs of brothers – Rudy and Bernie West, plus Ripley and Raphael Ingram. By the time Gene Redd brought The Five Keys to King in 1959, the group’s roster appears to have shifted thusly: Bernie West, Ripley Ingram, Maryland Pierce, James “Dickie” Smith, and Thomas “Dickie” Threatt.]
Note: The Five Keys at that time were considered the standard bearer for harmony vocalists, Marv Goldberg points out, and Ben Levin theorizes that Philip Paul played on all five Five Keys sessions based on the drumming styles captured on tape (e.g., “When Paw Was Courtin’ Maw“), as well as proximity to other King recording dates. No musician credits are listed for any of the Five Keys sessions.
- “How Can I Forget You“
- “I’ve Always Been a Dreamer“
- “I Took Your Love For a Toy“
- “Your Teeth and Your Tongue“
- “Ziggus“
- “Gonna Be Too Late“
- “When Paw Was Courtin’ Maw“
- “You Broke the Only Heart“
- “Dream On“
- “I Burned Your Letter“
- “Dancing Senorita“
- “Rosetta“
Recorded Aug. 18, 19 & 20, 1959
Cincinnati’s King Studios
1960’s The Five Keys King LP
$577 at auction in 2004 after 26 bids
“Your Teeth And Your Tongue“
Issued in Denmark
Gene Redd & the Globe Trotters, featuring Gene Redd (“timbales, sweet wind”), Philip Paul (drums), Clarence Mack (bass), John Faire and Freddie Jordan (guitar)
- “Zeen (Surfin’) Beat“
- “Old Virginny Rock“
Recorded Sep. 4, 1959
Cincinnati’s King Studios
How To Cash In On a Trend:
Riding the Wave
1959 A-side “Zeen Beat”
“Zeen Beat” retitled “Surfin’ Beat” –
This 1962 King “surf” LP only
Trini Lopez (vocals), with backing from unnamed musicians on “celeste, g, b, dm [presumably, Philip Paul]”
- “The Search Goes On“
- “Nobody Loves Me“
- “Then You Know (You’ve Been in Love)”
- “Won’t You Be My Queen For a Day“
- “Nobody Listens to Our Teenage Problems“
- “Sweet Thing“
Recorded Sep. 25, 1959
Cincinnati’s King Studios
“Nobody Loves Me“
Cash Box‘s Dec. 12, 1959 edition:
“good driving blues sound“
*
Rudy West (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), John Faire (guitar), Jon Thomas (piano) & Gene Redd (vibes)
- “Just To Be With You“
- “You Were Mine“
- “The Measure of My Love“
- “This Is Something Else“
- “My Mother’s Prayers“
- “As Long As I Live“
Recorded Sep. 29, 1959
Cincinnati’s King Studios
Rudy West –
Original lead tenor for The Five Keys
Trini Lopez (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass) & Freddie Jordan (guitar)
- “The Club for Broken Hearts“
- “Don’t Go“
- “Jeanie Marie“
- “I’m Just a Poor Little Schemer“
- “Chain of Love“
- “It Seems“
Recorded Oct. 1, 1959
Cincinnati’s King Studios
1963’s Teenage Love Songs King LP
Issued in Venezuela, France, the Netherlands, the UK, Australia & New Zealand
*
Little Willie John (“& Strings“), with backing from Philip Paul (drums), Edwyn Conley (el bass), John Faire (guitar) & Sonny Thompson (piano)
Recorded Dec. 23, 1959
Cincinnati’s King Studios
Both songs included on this 1961 King LP
Special note: Ben Levin sleuths that this same recording session yielded two more songs — “I’m Shakin’” and “My Love Is” — albeit with a twist:
Philip Paul played on the original December 23, 1959 studio recordings released as 45 sides, while Edison Gore (drums) and Edwyn Conley (bass) later overdubbed a new rhythm section for the Sure Things LP.
Ruppli’s notes, when scrutinized carefully, validate Levin’s ear — by way of comparison:
[King 45]
“I’m Shakin‘”
Philip Paul on drums
[King Sure Things LP]
“I’m Shakin’“
Edison Gore on drums
Using this same logic, that means the 45 mix of “My Love Is” features Philip Paul’s drumming:
[King 45]
“My Love Is“
Philip Paul on drums
Lynn Hope (tenor sax), with backing from Philip Paul (drums), Clarence Mack (bass), Freddie Jordan (guitar), Jimmie Palmer (piano) & Gene Redd (trumpet & vibraphone)
- “Juicy“
- “Tenderly“
- “Full Moon“
- “Shockin’“
- “Ghost of a Chance“
- “Body and Soul“
Recorded Mar. 4, 1960
Cincinnati’s King Records
“Shockin’“
Cash Box‘s Dec. 24, 1960 review:
“Delightfully contagious hand-clapping pose“
Also issued in Jamaica
Issued on UK’s famed ‘ska’ label
Note “corrected” spelling to King’s English!
The Five Keys [Even though Ruppli’s session notes lack musician credits, Ben Levin believes Philip Paul to be the drummer on this session, while the vibraphone on “Stop Your Crying” is undoubtedly the work of Gene Redd]
- “Girl You Better Stop It“
- “Stop Your Crying“
- “Wrapped Up in a Dream“
- “Will You“
- “I’ll Never Stop Loving You“
Recorded Mar. 21, 1960
Cincinnati’s King Studios
Five Keys Rhythm and Blues Hits 1960 LP
$825 at auction in 2007 after 19 bids
The Five Keys [no musician credits, although Ben Levin says the aural evidence points to Philip Paul on drums]
- “Valley of Love“
- “I Didn’t Know“
- “I Can’t Escape From You“
- “No Says My Heart“
- “That’s What You’re Doing to Me“
- “Bimbo“
- “Do Something For Me“
Recorded Mar. 24, 1960
Cincinnati’s King Studios
“I Can’t Escape From You“
Cash Box: “Shuffle-beat r&b romancer“
Lynn Hope (tenor sax), with backing from Philip Paul (drums), Edwyn Conley (bass), Freddie Jordan (guitar), Jimmie Palmer (piano) & Gene Redd (trumpet & vibraphone)
- “Blue and Sentimental“
- “The Very Thought of You“
- “Rose Room“
- “Sands of the Sahara“
- “Little Landslide“
- “Oo Wee“
- “Stardust“
Recorded Mar. 28, 1960
Cincinnati’s King Studios
1961’s Maharaja Of The Saxophone King LP
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Jimmy Johnson (piano) JC Davis (guitar), Henry Moore & Otis Finch (tenor sax), and Mark Patterson (trumpet)
Recorded Mar. 31, 1960
Cincinnati’s King Studios
“Finger Poppin’ Time“
Issued in Ireland
Tab Smith (alto sax), with backing from Philip Paul (drums), Bill Willis (bass) Jon Thomas (piano & organ) & Ernest ‘Butch’ Luckett (guitar)
- “Drivin’ the Blues“
- “In a Mellow Dream“
- “They’re Off“
- “Lovely Springtime“
- “Over and Under“
- “Easy Going“
- “Big Wheel“
Recorded Apr. 28, 1960
Cincinnati’s King Studios
“They’re Off“
Billboard: “Jaunty rhythm item“
El Pauling & The Royalton (“vo, g with ?”)
- “Solid Rock“
- “Now Baby Don’t Do It“
- “Everybody Knows“
- “I’m a Cool Teenager” [unissued]
Note: Ben Levin believes it high likely that Philip Paul backed the duet of El Pauling [i.e., Lowman Pauling of The ‘5’ Royales] and Royalton [i.e., Royal Abbit] on both of their King recording sessions. Note the precise snare work that helps underscore the stellar vocal performance on “Solid Rock.”
Recorded Jun. 9, 1960
Cincinnati’s King Studios
“Solid Rock“
Reissued 2011 in Spain on Vampisoul
Syl Johnson (“with tp, ts, p, g, el b, dm”)
- “I Need Love“
- “I’ve Got Love“
- “Lonely Man“
- “His Gift“
Note: Ben Levin makes the following observation —
Philip is confirmed the following week on a session with Little Willie John. What really sold this session being Philip is the ballad “His Gift.” Who else but Mr. Paul had that great brushwork!
Unfortunately, “His Gift” is not yet available on YouTube streaming audio.
Recorded c. Jun. 30, 1960
Cincinnati’s King Studios
My Gift
Numero Group’s 2016 compilation of Federal 45 sides
Little Willie John (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan (guitar) & Jimmy Palmer (piano)
Recorded Jul. 8, 1960
Cincinnati’s King Studios
Chart History
“Sleep“
(#13 Pop)
“Walk Slow“
(#48 Pop)
“The Very Thought Of You“
(#61 Pop)
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Jimmy Johnson (piano), Gene Redd & Mark Patterson (trumpet), and JC Davis & Henry Moore (tenor sax)
Recorded Jul. 26, 1960
Cincinnati’s King Studios
“Let’s Go Let’s Go Let’s Go“
Issued in Australia
Tab Smith (alto sax), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan (guitar) & Sonny Thompson (piano)
- “Chuggin’ Along“
- “Night Hawk Prowl”
- “The Midget” (unissued)
- “The Old Mill” (unissued)]
Recorded Aug. 5, 1960
Cincinnati’s King Studios
“Chuggin’ Along“
Billboard says: “has a world of beat“
Sonny Thompson [“prob. Osborne Whitfield (ts, fl) Sonny Thompson (p, org)”]
- “The Duck Walk“
- “Swinging Shepherd Blues“
Note: Ben Levin strongly suspects Philip Paul to be the drummer on these two songs, with “Duck Walk” sounding like a pre-ska Jamaica boogie instrumental.
Recorded Aug. 9, 1960
Cincinnati’s King Studios
“The Duck Walk“
Cash Box‘s Oct. 1, 1960 edition:
“infectious middle-beat blueser“
Gene Redd (“whistle with ts, org, el b, dm”)
- “New Annie Laurie“
- “New Sidewalks of New York“
Ben Levin asserts (and I concur) that the drumming on “New Annie Laurie” (even though it’s no longer available on YouTube streaming audio) sounds like a classic Philip Paul “popcorn” beat.
Recorded Aug. 12, 1960
Cincinnati’s King Studios
“New Annie Laurie“
Cash Box‘s Oct. 22, 1960 edition:
“Waxing makes good upbeat teen sense“
Hank Ballard & the Midnighters, featuring Hank Ballard (vocals), Philip Paul & Joe Hardwick (drums), Navarro Hastings (el bass), Jimmy Johnson (piano), Gene Redd & Mark Patterson (trumpet), JC Davis & Henry Moore (tenor sax)
Recorded Aug. 16, 1960
Cincinnati’s King Studios
“The Hoochi Coochi Coo“
#23 Pop – Jan. 30, 1961
Issued in Canada
Hank Ballard & the Midnighters, featuring Hank Ballard (vocals), Philip Paul & Joe Hardwick (drums), Navarro Hastings (el bass), Jimmy Johnson (piano), Gene Redd & Mark Patterson (trumpet), JC Davis & Henry Moore (tenor sax)
Recorded Aug. 17, 1960
Cincinnati’s King Studios
“Summertime“
special edition 33 1/3 RPM stereo 7-inch
El Pauling & The Royalton (“vo, g with ?”)
Ben Levin would bet big money that Philip Paul provided the drum work on this second and final recording session for the dynamic duo, El Pauling and the Royalton (i.e., Lowman Pauling and Royal Abbit).
Recorded Aug. 24, 1960
Cincinnati’s King Studios
“I’m A Cool Teenager“
Cash Box‘s Oct. 8, 1960 edition:
“Theme is presented with a wistful R&B-feel beat“
Smokey Smothers (guitar & vocal), with backing from Philip Paul (drums), [Bill Willis on bass?], Freddy King & Freddie Jordan (guitar) & Sonny Thompson (piano)
- “Smokey’s Lovesick Blues“
- “Crying Tears“
- “Midnight and Day“
- “Honey, I Ain’t Teasin’“
- “Blind and Dumb Man Blues“
- “What Am I Going To Do“
- “I’ve Been Drinking Muddy Water“
- “I Ain’t Gonna Be No Monkey Man No More“
- “You’re Gonna Be Sorry“
- “Can’t Judge Nobody“
- “Give It Back“
- “Come On Rock Little Girl“
Recorded Aug. 25, 1960
Cincinnati’s King Studios
“What Am I Going To Do“
Cash Box‘s Nov. 5, 1960 edition:
“upbeat side of things easily digested in swing style“
Jon Hartley Fox writes in 2009’s King Records history, King of the Queen City —
Guitarist and singer Otis ‘Smokey’ Smothers [Howlin’ Wolf’s guitarist prior to signing with King] never came close to stardom, but for a period in the early 1960s, he had one of the most talked-about albums of the day. Smokey Smothers Sings the Backporch Blues, released in 1962, is highly coveted by collectors today as one of the rarest of blues albums. Forty-five years ago, it was an unexpected blast of down-home blues that took everybody by surprise.
Smokey Smothers Sings The Backporch Blues
$1223 at auction in 2009 for original King LP
Retitled in the UK (1966) & Germany (1967)
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (bass) & Sonny Thompson (piano)
- “You Know That You Love Me“
- “See See Baby“
- “You’ve Got To Love Her With Feeling“
- “Have You Ever Loved a Woman“
- “Hide Away“
- “I Love the Woman“
Recorded Aug. 26, 1960
Cincinnati’s King Studios
“Hide Away“
“Attn: Disc Jocks,
This instrumental will be liked by The Teenagers!“
Freddy King Sings
$1173 at auction in 2017 for rare 1961 LP
Reissued in Europe (2014) & Spain (2015)
Clifford Scott (tenor sax), with backing from Philip Paul (drums), Bill Willis (bass), Hank Marr (organ), Charles Brown (piano) & Freddie Jordan (guitar)
- “Shu-ee“
- “Fros-Tee Nite“
- “Blue Lady“
- “Broadway Caravan“
Recorded Nov. 26, 1960
Cincinnati’s King Studios
“Fros-Tee Nite“
Co-written with “Albert Shubert“
(i.e., Andy Gibson)
Clifford Scott (tenor sax), with backing from Philip Paul (drums), Bill Willis (bass), Hank Marr (organ), Charles Brown (piano) & Freddie Jordan (guitar)
- “No. 1 in the Book“
- “Chocolate Malt“
- “Bushy Tail“
Recorded Dec. 6, 1960
Cincinnati’s King Studios
Twist with the ‘Extraordinary’ Clifford Scott
1962 EP
Clifford Scott (tenor sax), with backing from Philip Paul (drums), Bill Willis (bass), Hank Marr (organ), Charles Brown (piano) & Freddie Jordan (guitar)
Recorded Dec. 9, 1960
Cincinnati’s King Studios
“Skitchy“
Issued in Jamaica
Hank Marr (organ), with unnamed musicians, including [in all likelihood] Philip Paul (drums) and Clifford Scott (tenor sax)
- “Tonk Game“
- “Hob Nobbin‘“
Note: 1963 King LP Hank Marr Trio + 3 — Teentime Latest Dance Steps kicks off with “Tonk Game.” That same year, “Tonk Game” would be released for its second time as a single — initially released January 1961. Furthermore, Ben Levin reports that the liner notes for 2016 compilation Night Sounds: The Genesis of Soul/Jazz Organ Combos identify Hank Marr to be – after Bill Doggett – King’s next big organist, who recorded several influential discs, “including ‘Tonk Game’ which became so popular with Britain’s Jamaican immigrant population that it received a British release on the Blue Beat label.”
Recorded Dec. 10, 1960
Cincinnati’s King Studios
“Tonk Game“
1961 UK single on Blue Beat
El Pauling & Royal Abbit (vocals) with unknown musicians
Note: Ben Levin speculates, “According to the Philip Paul article in Living Blues [May/June 2011 issue], Syd Nathan helped Paul buy the house near the studio around 1961 or ’62. So wouldn’t it make sense that Syd would use Philip on as many sessions as possible around that time?” Levin hears Paul on these tracks, as does Zero to 180. El Pauling is an alter ego of Lowman Pauling of The ‘5’ Royales, while Royal Abbit also goes by The Royalton.
Recorded Dec. 21, 1960
Cincinnati’s King Studios
“Please, Please Be Mine“
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (el bass) & Sonny Thompson (piano)
Recorded Jan. 17, 1961
Cincinnati’s King Studios
“Lonesome Whistle Blues“
Issued in Canada
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (el bass), Sonny Thompson (piano), and Osborne Whitfield & H. Johnson (tenor sax)
- “It’s Too Bad (Things Are Going So Tough)”
- “I’m Tore Down” [see 2014 piece]
Recorded Jan. 18, 1961
Cincinnati’s King Studios
“I’m Tore Down“
Cash Box #9 R&B hit (11/13/61)
Hank Marr (organ), with backing from Freddy King (guitar), Philip Paul (drums), Lawrence Frazier (el bass), Michael Robinson (piano) & Osborne Whitfield (tenor sax)
Recorded Jan. 18, 1961
Cincinnati’s King Studios
“The Push“
Cash Box‘s Feb. 4, 1961 edition:
“funky instrumental destined for two-market action“
Included on 1963’s Hank Marr Trio +3 LP
Lulu Reed (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan & Lawrence Frazier (guitar), Sonny Thompson (piano) & Osborne Whitfield (tenor sax)
- “Know What You’re Doing“
- “What Makes You Feel So Cold“
- “I Got a Notion“
- “Ain’t No Cotton Pickin’ Chicken“
Recorded Jan. 19, 1961
Cincinnati’s King Studios
“I Got A Notion“
Billboard‘s April 24, 1961 edition:
“Fervid reading by the canary on an emotion-packed blues rockaballad.”
Lula Reed (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan & Lawrence Frazier (guitar), Sonny Thompson (piano) & Osborne Whitfield (tenor sax)
- “Puddentane“
- “Baby Baby“*
[*unissued until Ace UK’s Just a Little Bit: Federal’s Queens of New Breed R&B (2010), although that song would be “Lula‘s” second 45 release for her next label, Tangerine, owned by Ray Charles, an “early admirer“]
Recorded Mar. 19, 1961
Cincinnati’s King Studios
“Puddentane“
Cash Box‘s May 6, 1961 edition:
“infectious“
Lula Reed (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan & Lawrence Frazier (guitar), Sonny Thompson (piano) & Osborne Whitfield (tenor sax)
- “I’m a Woman (But I Don’t Talk Too Much)”
- “I Know“
- “Say Hey Pretty Baby“
- “You Gotta Have That Green“
Recorded Mar. 20, 1961
Cincinnati’s King Records
“Slow-Rock & Twist“
1962 EP
Hank Marr (organ), with backing from Philip Paul (drums), Lawrence Frazier (el bass), Freddy King (guitar), Michael Robinson (piano) & Osborne Whitfield (tenor sax)
Recorded Mar. 22, 1961
Cincinnati’s King Studios
“Mexican Vodka“
Billboard‘s April 3, 1961 edition:
“an invigorating, insinuating side with a touch of the below-the-border flavor“
Freddy King (guitar), with backing from Philip Paul (drums), Bill Willis (el bass), Freddie Jordan (guitar), & Sonny Thompson (piano)
- “Sidetracked“
- “Stumble“
- “San-Ho-Zay“
- “Wash Out“
- “Just Pickin’“
- “Heads Up“
Recorded Apr. 5, 1961
Cincinnati’s King Studios
Let’s Hide Away And Dance Away With Freddy King
LP can fetch $300 at auction
Little Willie John (vocals), with backing from unnamed musicians on piano, guitar, electric bass, and drums (plus strings on two tracks, choir on one)
- “The Masquerade Is Over“
- “Spring Fever“
- “Every Beat of My Heart“
- “Like Boy, Like Girl” [unreleased]
- “Take My Love (I Want to Give It All to You)”
- “Rock Love“
- “Now You Know“
Note: Ben Levin makes this assertion with regard to “Take My Love” —
This is a week after a session Philip had with Freddy King. There is no doubt in my mind this shuffle is Philip.
Recorded Apr. 12, 1961
Cincinnati’s King Studios
“Take My Love (I Want To Give It All To You)”
Cash Box #15 R&B hit (9-2-61)
El Pauling & Royal Abbit (vo) “with orchestra”
Note: Ben Levin suspects Philip Paul played at Lowman Pauling and Royalton‘s other recording session that yielded two Federal 45s.
Recorded c. Spring 1961
Cincinnati’s King Records
“Jail Bird“
45Cat’s mickeyrat:
“rasp-voiced rock & roll in Coasters/Olympics territory“
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Freddie Jordan & Dave Hamilton (guitar), Henry Moore (tenor sax) & Gene Redd & Mark Peterson (trumpet)
Recorded Jul. 18, 1961
Cincinnati’s King Studios
“Big Red Sunset“
Cash Box #45 R&B hit (10-28-61)
Freddy King
- “Christmas Tears“
- “Let Me Be“
- “Takin’ Care of Business“
- “You Mean Mean Woman“
- “I Hear Jingle Bells“
- “In the Open“
- “Out Front“
- “Swooshy“
Recorded Jul. 24, 1961
Cincinnati’s King Studios
“Christmas Tears” & “Jingle Bells“ –
Strictly 45 tracks
Reissued in 1975
Jimmy Peterson (vocals) “with orchestra”
- “One Buffalo (You Mean a Nickel)”
- “Anything You Ask“
- “Goodnight, My Dear, My Darling“
- “Nothing Goes Right For Me“
Note: Ben Levin believes the drumming on this vocalist’s only session for King to be the work of Philip Paul.
Recorded c. Summer 1961
Cincinnati’s King Studios
“Good Night My Dear, My Darling“
Cash Box‘s Dec. 9, 1961 edition:
Peterson “backed-up by an interesting percussion-led combo stand“
The Superiors (vocals) with unnamed musicians, including baritone guitar
- “I’m Sorry Baby“
- “Dance of Love“
- “Beware, Beware” (unissued)
- “You Should Have Been There” (unissued)]
Note: Ben Levin postulates —
Cincinnati is not even listed on this date, but Sonny Thompson is listed as a co-writer on both tunes, and he is definitely on piano. The drums sound like Philip to me and I think it’s safe to assume the group used the King backing band for this session.
Recorded c. late Summer 1961
Cincinnati?
“I’m Sorry Baby“
45Cat’s mickeyrat:
“garagey R&B rocker which I quite like“
Bobby King (vocals) with unspecified “orchestra”
- “Thanks Mr. Postman“
- “I Want You to Rock Me“
Note: Ben Levin would bet big money that Philip Paul is the unnamed drummer on this recording session. “Postman” appears to have sat in the can until late summer 1962 when the vocalist recorded its B-side, “Two Telephones.”
Recorded Nov. 21, 1961
Cincinnati’s King Studios
“Thanks Mr. Postman“
45 fetches three figures at auction –
including $522 in 2009 after 23 bids
Eddie Clearwater (vocals), with backing from Philip Paul (drums), Lawrence Frazier (el bass), Freddy King (guitar), Hank Marr (organ) Michael Robinson (piano) & Osborne Whitfield (tenor sax)
- “A Real Good Time“
- “I Was Gone“
- “Hey Bernardine“
- “Twist Like This“
Recorded Nov. 22, 1961
Cincinnati’s King Studios
“A Real Good Time“
$261 in 2017 for this A-side
Hank Marr (organ), with backing from Philip Paul (drums), Lawrence Frazier (el bass), Freddy King (guitar) Michael Robinson (piano) & Osborne Whitfield (tenor sax)
- “The Twist Serenade“
- “Your Magic Touch“
Recorded Nov. 22, 1961
Cincinnati’s King Studios
“Your Magic Touch“
Cash Box‘s Jan. 20, 1962 edition:
“Chopin’s ‘Polonaise‘ is heard with new lyrics in this swingin’ rock outing.”
Both 45 sides written by Zella Bridges
The Escos (Lonnie Carter, Donald Peak, Richard Parker, Joe Penn & Roland Bradley on vocals) plus unnamed musicians
Note: Ben Levin makes a compelling case —
This session yielded two songs, and it was cut the same day as an Eddie Clearwater session on which Philip is listed. I think it’s fair to say the Escos used the whole same band that is listed behind Eddie Clearwater, and the guitar on one song sounds like Eddie Clearwater.
Recorded Nov. 22, 1961
Cincinnati’s King Studios
“Thank You Mister Ballard
(For Creating The Twist)”
Historical Sidebar
Philip Paul
with
Charles Brown & Amos Milburn:
Philip Paul informed Zero to 180 directly – in private consultation over the phone – that he, in fact, provided the backbeat for all of Charles Brown & Amos Milburn‘s Cincinnati recording sessions for King in the years 1960-63 and beyond, for which we know the following song titles and little else.
Charles Brown Sings Christmas Songs
Charles Brown:
Cincinnati King Sessions:
1960-1963
Sep. 21, 1960
Dec. 13, 1960
Jan. 22, 1961
[with Amos Milburn]
Jun. 27, 1961
Jul. 3, 1961
Aug. 7, 1961
- “Let’s Make Every Day a Christmas Day“
- “Christmas in Heaven“
- “Bringing in a Brand New Year“
- “Christmas Finds Me Lonely Wanting You“
- “Christmas Blues“
- “Christmas Comes But Once a Year“
Aug. 10, 1961
c. Oct. 9, 1961
Jan. 26, 1963
Aug. 26, 1963
- “If You Don’t Believe I’m Crying, Take a Look at My Eyes“
- “Lucky Dreamer“
- “Too Fine for Crying“
- “Blow Out All the Candles (Happy Birthday to You)”
- “I Wanna Be Close“
- “Come Home“
Amos Milburn
Cincinnati King Sessions:
1960-1961
Sep. 21, 1960
Jan. 22, 1961
[with Charles Brown]
Mar. 7, 1961
Jul. 5, 1961
- “Movin’ Time“
- “The Hammer“
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Freddie Jordan & Dave Hamilton (guitar), Sonny Thompson (piano), Elmer Yates (tenor sax) & Gene Redd (trumpet & vibraphone)
- “It’s Twistin’ Time“
- “Good Twistin’ Tonight“
- “Get Ready“
- “I Want to Thank You“
- “Your Lovin’“
- “She’s the One“
- “Dream World“
Recorded Jan. 6, 1962
Cincinnati’s King Studios
The Jumpin’ Hank Ballard And The Midnighters
1962 King LP does pretty well at auction
Freddy King, with backing from Philip Paul (drums), Bill Willis (el bass), Freddie Jordan (guitar), Sonny Thompson (piano), Gene Redd (trumpet) & Clifford Scott (alto & tenor saxes)
- “Closed Door” [alternate title: “High Rise“]
- “Texas Oil“
- “She Put the Whammy On Me“
- “On My Way to Atlanta“
- “Overdrive (Untouchable Glide)”
- “Driving Sideways“
- “Sittin’ On the Boat Dock“
- “Come On“
Recorded Jan. 10, 1962
Cincinnati’s King Studios
“Texas Oil“
Cash Box‘s May 12, 1962 edition:
“potent instrumental side in the tradition-oriented blues vein“
Lula Reed & Freddy King with Sonny Thompson & His Orchestra [musicians not listed by Ruppli — Philip Paul almost certainly the drummer on this session]
- “Do the President Twist” [see 2013 piece]
- “(Let Your Love) Watch Over Me“
- “You Can’t Hide“
- “Your Love Keeps a-Working on Me“
- “What About Love“
- “It’s Easy, Child“
Recorded Feb. 1962
Cincinnati’s King Studios
“You Can’t Hide“
Included on 2015’s R&B Hip Shakers Vol. 4:
Bossa Nova & Grits
Hank Marr (organ), with backing from unnamed musicians, including (quite possibly) Philip Paul on drums
Recorded c. Spring 1962
Cincinnati’s King Studios
“The Watusi-Roll“
Cash Box‘s Sep. 8, 1962 edition:
“a good jazz touch“
Both tracks included on 1963’s Hank Marr Trio +3 LP.
The Ascots (vocal group) “with orchestra”
Note: Ben Levin believes the drumming on this vocal group’s only session for King to be the work of Philip Paul. The four songs, curiously enough, would be released as one King 45 and one Bethlehem 45.
Recorded c. June 1962
Cincinnati’s King Studios
“Hip Talk“
Cash Box‘s Dec. 1, 1962 edition:
“Good blues novelty stand“
Sonny Thompson (piano), with unnamed musicians
- “Just A Little Bit of S-O-U-L“
- “Loco Limbo“
Ben Levin strongly suspects that Philip Paul is the unnamed drummer on this recording session, two instrumentals released as a 45 on the Bethlehem label.
Recorded Aug. 14, 1962
Cincinnati’s King Studios
“Loco Limbo“
According to one Discogs contributor:
“considered a genuine instrumental Belgium popcorn oldies style track“
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), David Walker (el bass), Freddie Jordan & Marion Wright (guitar), Sonny Thompson (piano), Vonzell Cooper (organ), Garnell Cooper (tenor sax), Gene Redd (trumpet) & Sal Samuels (tambourine)
Recorded Sep. 12, 1962
Cincinnati’s King Studios
“Shaky Mae“
Cash Box‘s Sep. 29, 1962 edition:
“an all-out blues thumpin’ novelty sound“
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), David Walker (el bass), Freddie Jordan & Marion Wright (guitar), Sonny Thompson (piano), Vonzell Cooper (organ), Garnell Cooper (tenor sax), Gene Redd (trumpet) & Sal Samuels (tambourine)
- “Love Oh Love“
- “Bring Me Your Love“
- “Santa Claus Is Coming“;
Recorded Sep. 13, 1962
Cincinnati’s King Studios
“Santa Claus Is Coming“
Cash Box‘s Dec. 8, 1962 edition:
“a happy shuffle-beat affair on an original ditty by the daddy of the twist“
Bob Kames (organ), with backing from Philip Paul (drums), Bill Willis (bass) & Rollie Tipton (guitar)
Songs that comprise two full-length King LPs engineered by Chuck Seitz and produced by Hal Neely:
Recorded Oct. 1-4, 1962
Cincinnati’s King Studios
Cover photo location:
D-X Ranch of Cincinnati
Milt Buckner (organ), with backing from Philip Paul (drums), Bill Willis (bass), & Gene Redd (vibraphone)
Recorded Nov. 26, 1962
Cincinnati’s King Studios
“All Blues“
“organ-vibes-rhythm-pop-jazz dance beat“
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan (guitar), Sonny Thompson (piano), and Gene Redd & Clifford Scott (saxes)
- “Bossa Nova Blues“
- “Bossa Nova Watusi Twist“
- “Someday After Awhile (You’ll Be Sorry)”
- “You’re Barkin’ Up the Wrong Tree“
- “Is My Baby Mad At Me“
- “(The Welfare) Turns Its Back on You“
- “It Hurts to Be in Love“
- “Look Ma I’m Cryin’“
- “(I’d Love to) Make Love to You“
- “One Hundred Years“
- “Walk Down That Aisle (Honey Chile)”
- “You Walked In“
Recorded Nov. 27-29, 1962
Cincinnati’s King Studios
1963’s Bossa Nova and Blues
Reissued in US & Europe (2014) + Japan (2016)
The King Pins (The Kelly Brothers plus T.C. Lee, Offe Reese, and/or LeeRoy Gilbert on vocals) “with orchestra”
- “Don’t Wait, Pretty Baby“
- “I Won’t Have It“
- “It Won’t Be This Way (Always)”
- “How Long Will It Last“
- “Wonderful One“
- “Believe In Me“
- “With the Other Guy“
Note: Ben Levin points out —
This is a day after Philip recorded a session with Freddy King and seven songs were cut. “It Won’t Be This Way Always” has the same bossa nova sound as some of the Freddy King songs cut the day prior, and “How Long Will it Last” has Philip’s iconic brush work.
Recorded Nov. 30, 1962
Cincinnati’s King Studios
“How Long Will It Last“
Released in Jamaica on JA’s own Federal label!
Hank Marr Trio +3 [Hank Marr (organ), Taylor Orr (drums) & Rusty Bryant (tenor sax)], with assistance from Philip Paul (drums), Bill Willis (bass) & Cal Collins (guitar)
- “All My Love Belongs to You“
- “Bossa Nova Watusi Twist“
- “Day By Day“
- “Little Girl Don’t Cry“
- “Midnight Moon“
- “Let’s Cut One“
- “Stand In Line“
- “One Step Around“
- “Marsanova“
- “The Squash“
Recorded Dec. 13, 1962
Cincinnati’s King Studios
Note: Back cover liner notes for Latest Teentime Dance Steps (penned by Gene Redd) outline the album concept as “Hank Marr Trio +3” — i.e., the trio of musicians on the front cover augmented by “three of the finest musicians in the mid-west” [Philip Paul, Cal Collins & Bill Willis], thus adding a double drummer dimension to the group’s sound in order to get dancers on the floor:
“Hank Marr heads up a real rockin’ group, which includes Rusty Bryant on tenor sax and Taylor Orr on drums. However, to make these recordings stronger and even more danceable, three of the finest musicians in the mid-west – Bill Willis on bass, Cal Collins on guitar and Philip Paul on drums – were added to the group for the purposes of making this album. Two drummers were used to insure the best possible beat. The arrangements were especially prepared and scored by Hank Marr and Gene Redd and were designed to fit each dance step. [note the 13 different dance steps named on the front cover]“
Liner notes by Gene Redd
Milt Buckner (organ), with backing from Philip Paul (drums), Bill Willis (bass), & Gene Redd (vibraphone)
Recorded Mar. 5, 1963
Cincinnati’s King Studios
The New World of Milt Buckner
reissued in Japan in 2013
The Escos (Lonnie Carter, Donald Peak, Richard Parker, Joe Penn & Roland Bradley on vocals) “with chorus” plus unnamed musicians
Note: Ben Levin, who believes Philip Paul to have played on these two songs, implores —
Listen to the trademark beat Philip lays down behind “That’s Life” – it’s a really nice ballad.
Recorded Apr. 18, 1963
Cincinnati’s King Records
“That’s Life“
45Cat’s mickeyrat:
“spin-off group from Otis Williams & The Charms
produced by Sonny Thompson“
James Robbins (vocals) backed by unnamed musicians
- “I’ll Be There“
- “(You Have to) Cry Sometimes“
- “The Door Is Always Open For Me“
- “I Declare, That’s Enough“
- “He Made Them“
- “Someday From Somewhere“
- “(Walk With Me) Each And Every Day“
- “One Day (You’re Gonna Need Me)”
Note: Ben Levin — based on the trademark “popcorn” beat and stop/start rhythms on the two available streaming audio clips — strongly suspects Philip Paul to have been the drummer on this session.
Recorded May 15, 1963
Cincinnati’s King Records
“(Walk With Me) Each And Every Day“
The King Pins (The Kelly Brothers plus T.C. Lee, Offe Reese, and/or LeeRoy Gilbert on vocals) plus unnamed musicians
Note: Ben Levin points to “Hop Scotch” – a “twistin'” one that “sure sounds like Philip to me,” while Zero to 180 marvels at the crisp start and stop rhythms on the opening bars of “Two Hearts.”
Recorded Jul. 28 & 29, 1963
Cincinnati’s King Studios
“Two Hearts“
“J&C” – Henry Glover?
The King Pins (The Kelly Brothers plus T.C. Lee, Offe Reese, and/or LeeRoy Gilbert on vocals) plus unnamed musicians
- “The Monkey One More Time“
- “Now Baby Don’t Do It” (unissued)
Note: Ben Levin believes Philip Paul to have been the drummer on this final King Pins session.
Recorded Aug. 7, 1963
Cincinnati’s King Studios
“The Monkey One More Time“
According to 45Cat:
“charted on KFXM the week of Sep. 21-Sep. 27, 1963 at #59“
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Oscar Crummie (el bass), Freddie Jordan (guitar), Sonny Thompson (piano) & Gene Redd (tenor sax)
- “Now I’ve Got a Woman“
- “Surf Monkey“
- “If You Have It“
- “Low Tide (Zoo Surfin’)”
- “Remington Ride“
- “Monkey Donkey“
- “Meet Me at the Station“
- “Full Time Love“
- “King a Ling“
Recorded Sep. 26, 1963
Cincinnati’s King Studios
“If You Have It“
Included on especially rare Freddy King LP
Freddy King Sings Again
Freddy King (guitar & vocals), with backing from bass [Benny Turner – Freddy King’s brother], guitar [Bobby King (Federal artist)], piano [Sonny Thompson?], organ [Hank Marr?], saxes [Gene Redd and/or Clifford Scott?] & quite possibly Philip Paul on drums
- “I Love You More Every Day“
- “Teardrops on Your Letter“
- “Some Other Day, Some Other Time“
- “She’s the One“
- “She’s That Kind“
- “Man Hole“
- “Fish Fare“
- “Funny Bone“
- “Cloud Sailin’“
- “The Sad Nite Owl“
- “Nickel Plated“
- “Freddy’s Midnite Dream“
Recorded Aug. 26, 1964
Cincinnati’s King Records
Freddy King Gives You a Bonanza of Instrumentals
1965 LP reissued in 1984 (Germany), 1996 (Japan) & 2010 (US)
Cover photo possibly taken at Cincinnati’s Eden Park
The Expressions (vocal group) backed by unnamed musicians
Ben Levin asks —
This session is listed two days after Philip’s last session with Freddy King, could this be his last session at King? There are two songs cut and both have to be Philip on drums.
Recorded Aug. 28, 1964
Cincinnati’s King Studios
“You Better Know It“
Carol Ford (vocals) with unnamed musicians
Ben Levin notes that it stands to reason that Philip Paul would be part of the same studio ensemble hired to back The Expressions, who also recorded at King Studios that same day. Levin adds that the drums on “Run Baby” in particular sound like the handiwork of Philip Paul.
Recorded Aug. 28, 1964
Cincinnati’s King Studios
“Run Baby“
A King History Moment:
Session Bassist Bill Willis
Bill Willis quoted in 2000’s Rollin’ and Tumblin’: The Postwar Blues Guitarists, edited by Jas Obrecht:
King Records had four of us who played on everything — me, Philip Paul on drums, Sonny Thompson on piano and Freddie Jordan on guitar. Everything was live so you had that spontaneous feeling going. None of us played together outside. The only time we played together was in the studio. A lot of times I didn’t hear what I was playing, like on “Hide Away,” because I went directly into the board. They turned my bass amp off, and I very rarely used headphones. I wanted to hear everybody through the room and catch all the nuances.
Postscript
P H I L I P # P A U L
Brian Powers tells Zero to 180 –
I am sure Paul played on some Cowboy Copas stuff — before Copas left King in 1955, but I couldn’t tell ya what. I’m pretty sure he played on Hawkshaw Hawkins’ album recorded in fall 1962 (with Gene Redd on vibes and Bill Willis on bass), which had a number one country hit with “Lonesome 7-7203.” I know this because Ray Pennington told me – he produced it and there are quite a few songs written by Ray.
However, as Jon Harley Fox notes with a heavy heart (in King of the Queen City) –
After a long, dry spell with only one hit to his credit, Hawkins returned to King in 1962. He cut twelve songs in a September session, including the song that restarted his career, “Lonesome 7-7203,” a honky-tonk shuffle in the style of Ray Price. It would be Hawkins’s first number one hit single, but he wouldn’t live to see it happen. Just three days after the record entered the Billboard county chart, Hawkshaw Hawkins was killed in a plane crash with Patsy Cline and Cowboy Copas. Nothing else from Hawkins’s last session made the charts.
But wait, there’s more — Larry Nager says (in his June 2011 profile for Living Blues) that Philip Paul did some session work for John Lee Hooker. A closer examination of Michel Ruppli’s King session notes reveals on page 118 that drums were added by an “unknown” musician c. 1960 to two earlier recordings by John Lee Hooker:
Both tracks included on John Lee Hooker Sings Blues
Philip Paul:
Keeping the Beat
PBS documentary short
2012
Philip Paul also profiled here:
Herzog Music‘s Lost on the River 2018 podcast:
WVXU‘s Lee Hay:
Noah Wotherspoon‘s Mobile Woodshed series:
Larry Nager‘s feature article on Philip Paul:
- “Keeping Time” = Oct. 2009 issue of Cincinnati Magazine
Larry Nager‘s full-length profile:
- “Philip Paul: The King’s Beat” = Jun. 2011 issue of Living Blues
Philip Paul Talks With Larry Nager:
Playing Drums on Country Sessions at King
Middle Tennessee State University
2015
A Philip Paul Jukebox!
9 Hours of Recorded Performances
Bonus Philip Paul Quotes:
1994 & 1996 Interviews
Conducted by David Bottoms
From Stacks of Wax:
The Complete Story of the Record Labels of Cincinnati, Ohio
[Quote #1] King house drummer Philip Paul can expand our understanding of Syd Nathan’s relationship with his musicians. He remembers:
He felt as if he had to have this hard-core persona, you know, to keep up on everything, because you’re bringing in musicians that travel all over the country — all over the world. They’ve got big egos, and he had to have them in line to get what he wanted put of them. He did a good job at it. When he confronted musicians that couldn’t do the job, he was very tough on them: I’ve seen some musicians get so angry [they’d] just walk out. But if you thought about what you were doing, and what you were contributing, you stayed there and you listened. You listened to him, and you listen to the A&R man. They were listening to you, and they knew exactly how you were projecting. Paul further notes the recording situation with regard to reimbursement and royalties: One downside I didn’t like about him…he had all these musicians, and sometimes you wouldn’t know who the sidemen were on the records. They wouldn’t put your name on it, but they had to have a recording log…you had to list the musicians in there. See, they got paid one-time money. If you worked today, you got paid today. They you got nothing else. You got scale, but it was for that day, that session: the musician got no royalties. Only the A&R men. Staffers had checks, like the musicians. The ‘big names’ got contracts…so many cents on a record…he’d pay you, he just wouldn’t put your name on there [the record]…if for nothing else, for historic recognition. You have to learn. It’s a business. We were young, we wanted to record, we didn’t release how good we were.
[Quote #2] Drummer Philip Paul remembers the circuit well. As part of Tiny Bradshaw’s band, he shared the energy of those nights:
If you couldn’t cut it in those theaters, the people let you know right away. Those huge bills…are a thing of the past. We would leave Cincinnati and do all those theaters, and maybe have 50 one-nighters. From there [up north] back through the south, out to California, by car. We made it through all that from the crowd response. The crowd was always there, always. We’d play the Apollo in New York and the crowd would be just crazy.
Paul notes that the road was an entirely different situation than the forces governing the studio setting:
On the road we had our own manager, booking agencies, and so forth. The manager got the money and paid us – we worked for x dollars a night, all expenses paid by the musician. [There’s] one aspect of the music business you don’t find today…you travel the country and play for different crowds…you get to test the waters with what you want to record. As a result, we never recorded anything unless we played it over and over again. That way we knew it was gonna be a hit. This is the thing they wanted. When we played these tunes they’d stand up and applaud, they’d dance to it.
[Quote #3] The drummer position came open in the summer of 1952, and [Tiny Bradshaw] tried to pull Philip Paul away from his place with Buddy Johnson’s outfit and into his. Paul agreed to make the move and relocate to Cincinnati as a home base, and immediately found himself playing the Cotton Club, where he remembers:
[The band] would play the Cotton Club maybe two weeks out of a month. We’d have the band – a show – dancing girls, comedians, the whole bit, you know. Then we’d go out on the road, but we’d always come back to Cincinnati and play the Cotton Club. That was a great arrangement.
At an October 6th, 1952 session in Cincinnati Paul contributed to another Bradshaw hit:
Nathan was the kind of guy – he wasn’t a musician. So he couldn’t tell you what he really wanted. But when he heard it, he’d say, ‘That’s it!’ He told me [for the session] ‘I want you to play brushes on this number.’ Can you imagine trying to push a band of six or seven musicians with brushes?!
It worked though, and King 4577 – “Soft,” sweetened by fine sax from [Red] Prysock and Cincy’s Rufus Gore, hit big (#3 in early ’53), to the extent that Bradshaw was sometimes called “Mr. Soft” in the trades.
[Quote #4] The pursuit of the shiny new bauble of stereo recordings meant another layer of complexity for those toiling away on Brewster. Of the time, Chuck Seitz remembers:
When stereo became the craze, we’d go into the vault to get the master [of a particular recording] and add rhythm guitar and bass, one on each side, the rest in the middle, and we got a stereo record.
Philip Paul remembers it well:
They’d partition off that one studio, and…I’d do a lot of overdubbing. I’d wear headphones. They’d play a record, and I’d have to bring the drumbeat up to date…I’d modernize it. I did so many covers—and it’s hard to do—because you really have to listen to the beat and you can’t get ahead of the group. You have to play within that time concept, but you also have to bring it up to date. Modernize it, to a certain degree. They’d call me for a lot of those things, a lot of [acts].
He continues:
At one time, when the Bossa Nova beat came out, Syd sat down and listened to all the things he had, and said, ‘We’re going to make this a Bossa Nova beat, or that…’ we changed it, took it out of one era and put it in another. He knew just what material to use. For not being a musician, he had a knack of knowing how to put things together!
4 Responses
Nice update on “The Pulse of King” cool platform without a doubt
Someone or several people have done some wonderful research. Great pics and stories.
Loved this article – is this information in book form
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