LOUIE INNIS (biography by Greg Adams, Allmusic.com). [Additions by Bopping’s editor.]
Louie Innis was born on January 21, 1919 (d. Aug. 20, 1982) in Seymour, Indiana. His role as a session guitarist is often emphasized but the fact is that, for us, it was not his most important role.
Louie Innis (sometimes credited as Louis) is one of those 50-year-old hillbilly boppers that thrill country music collectors. He never had a success [that’s not true], but his recordings for King and Mercury were cheerful, boogies uptempos and proto-rockers that show the musical mastery and the vocal work of Innis.
He was part of Hank Penny’s The Plantation Boys in the early 1940s, performing guitar and bass chores alongside Carl Stewart and Zed Tennis as violinists, and Roy Lanham’s solo guitar. Here is an example of Louie Innis work as rhythm player during a Hank Penny March 1945 session in Cincinnati, OH.: “Talkin’ about you” (King 512)
They worked with The Delmore Brothers, Merle Travis, Bradley Kincaid and Grandpa Jones. They also accompanied WLW pop singer Doris Day. After the march of Lanham, in 1944 the band toured with the USO before Penny traveled to California at the behest of [Merle] Travis, and the group undid. Later, when Penny was under contract with RCA, Innis composed a pair of songs to him, “No Muss-No Fuss-No Bother“(RCA 58-0183) and “Hold The Phone” (1951).
«(You ain’t nothin’ but a female) Hound Dog“, a duet with Charlie Gore, is an issue that has surfaced in rockabilly compilations, although it was recorded in 1953, indicating that Innis was on the road to rock & roll, though he was never permanently installed on it.
There are very few biographical data we could gather about Innis; however, on King Records’ promotional discs some details about the performer were outlined: on King 1225 (1953) he was defined: “Composer, vocalist, instrumentalist and emcee [presenter at Indiana Hoedown on WFBM], Louis innis excels in every facet. An Indiana guy who started on the radio at age 16, Innis has already made up a few hit songs. »
In King 1406 (1954) it was stated: “Indiana native Louie Innis became interested in music for the first time thanks to the local hairdresser who knew a few chords on the guitar, and both played and did duets between cuts of hair and shaved, almost every day. »
On the other side of the same single was noted: “A familiar figure among the broadcasts of folk music is Louie Innis. One of the outstanding rhythmic guitars in the business, Louie Innis worked with Red Foley for two and a half years at the Grand Ole Opry and has recorded with over fifty different artists ».
King 4861 (1955) noted: “(….) His work as a guitarist is much appreciated and is required by many great country stars. Louie is currently working as an emcee at the Indiana Hoedown in Indianapolis, Indiana. »
And on the flipside it was said: “Born in Shelbyville, Indiana, 35 years ago, Louie Innis was driven into music business when he was expelled from high school. He and some other students “played hookey” (skipped classes) one day. “The other guys lied about why they had gone away, but I told the truth,” he explains. “Later, when the director found out, he begged me to come back, but I said ‘no thank you’, and I took music seriously with the blessing of my parents.”
As a composer, in addition to his own songs, highlights “Seven Nights To Rock“, along with Buck Trail and Henry Glover, for Moon Mullican (1956), a classic rockabilly that he never got to record:
“Skip, Hop & Jump Country Style” is a German 23-track anthology of recordings of Innis on Mercury and King between 1949 and 1955, full of Innis novelties and a few hillbilly covers of pop and R & B hits such as “Oh! Babe by Louis Prima and “Hearts of Stone” by the Charms. «Stomp that thing» is a recent (2017) digital anthology to be found on Uncle Gil’s Rockin’ Archives blogsite.
Innis used a superb rhythmic section filled with resources like palms, bells, whistles and howls, as a precedent of what Sid King & the Five Strings would do next. Innis had a prominent band in which Zeb and Zeke Turner, Jerry Byrd, Tommy Jackson and Don Helms paraded in different stages, along with Maddox Brothers & Rose, to the category of talents that “should have been», but never received sufficient recognition.
LOUIE INNIS : an appreciation track per track (by Bopping’s editor)
If the reading of comments is boring you, go direct to the podcasts, label scans and downloads.
Sterling and Deluxe issues (1947-late 1948)
« LOUIE & THE INNIS CLAN » (on Sterling)
«Look in the looking glass» is a fast Western swing novelty. Good guitar, steel (Jerry Byrd?) + a welcome trumpet solo. (N.Y.C. Sterling 207 – probably recorded in Nashville).
«Tennessee Central» is of course a train song that’s « Rockin’ and reelin’». Fast. No fiddle. Trumpet main instrument. Steel effects of train. Agile lead guitar. (N.Y.C. Sterling 209 – probably recorded in Nashville).
«I guess you just don’t care» is a mid-paced ballad. An accordion; fiddle, guitar and bass. Vocal is a bit Hillbilly crooning. (New Jersey Deluxe 5059, also probably recorded in Nashville). First song written by Louie Innis. Leased by King ? The session has nos less than 7 unissued songs left.
= On December 22, 1948, Innis did the rhythm guitar duty for the Hank Williams‘ session that released « Lost on the river » and « Lovesick blues ».
Mercury issues (July 1949-November 1951)
« LOUIE INNIS & THE STRING DUSTERS »
«Better back up mama» (# 6217) Billed on label «Country boogie and blues» : uptempo Bopper ; prominent fiddle, Jerry Byrd takes a steel solo. Probably Zeke Turner on lead guitar. Innis on energetic rhythm guitar.
= On August 30, 1949, Innis accompanied on rhythm guitar Hank Williams once more (and for the last time) on «I’m so lonesome I could cry», «I just don’t like this kind of livin’», «My bucket’s got a hole in it». Tommy Jackson was on fiddle, and probably accompanied Louis Innis on his first Mercury session, with Ernie Newton on bass, at E.T. Herzog Studio in Cincinnati, OH.
«She’s mean to me» (# 6225, reissued # 6273) is a real fine shuffler. Zeke Turner in good form. Byrd has his solo. Certainly Tommy Jackson on insistent fiddle.
One more «Country boogie» as noted on the label : «Jug band boogie» (# 6244). A novelty by the use of a washboard, handclaps, and the growls of Innis (imitating T. Texas Tyler). A fine bopper.
«I thought she was a local (but she was a fast express)» (# 6273). Not written by Innis, it’s his second train-inspired opus. Very fast song, an harmonica (for the only time in Innis’ records), fiddle is prominent. Discreet steel, imitating a train bell.A promising «Woman hating blues» from this August 1950 session remains unissued.
Another pop novelty from the pen of Louis Prima, given the Hillbilly bop treatment, «Oh ! Babe» (# 6293). Tailor-made for Prima, a very nice version by the versatile Innis. An insistent guitar riff.
More to come with the next pairing. «Honky-tonk man» (# 6335) from May 1951. Strong country boogie guitar, loud drums, great steel. Same goes for the flipside, «Stomp that thing» (penned Innis-Turner) is a tour-de-force, his fastest song ever, without fiddle, and proto-rockabilly. Great song !
In June 1951, Hank Penny cut the Louie Innis songs that were specially written for him : «No muss-no fuss-no bother» and «Hold the phone», although the session took place on the West coast (Innis not present).
So strangely «I’ve got a red hot love» (on the label, «Louie Innis » alone) (# 6370) from late 1951 returns to classic style Hillbilly bopper – the theme song is as usual. The fiddle is back, and the voice is always winkling. From the same session remained unissued «I’m the lonesomest guy».
Remember. If my comments are boring you, go direct to podcasts, downloads and labels cans.
Louie Innis didn’t have in 1952 any recording pact, and without doubt he devoted himself to his work on WLW (Cincinnati, Midwestern Hayride) and WFBM (Indiana Hoedown), or recording sessions for others artists.
Billboard March 1953
February and March 1953. «Who’ll give me, you’ll give me, who’ll give me kisses» (# 1180) is a fast novelty and unpretentious very good bopper with its catch phrase.
“Who’ll give me, you’ll give me, who’ll give me kisses”
Then the very fast «I got a round trip ticket» » from November 1953. Train effects by the steel payer ; pizzicato played fiddle, which seems mandolin . Plus, «There’s a red hot fire (in the old locomotive)» (# 1392) (penned Roberts = maybe Bob Newman under his usual pseudonym as writer), again a fast train song.
Finally a cover of another R&B hit, “Hearts of stone” (# 1392), originally done by the Black vocal group The Charms. Innis does a fine mid-paced rendition of the song. Good steel and guitar. This crossover use of R&B and C&W songs was common at King for years, and gave many a new, fresh song.
Finally from October 1954 to May 1955. – Innis aided by Al Myers (lead guitar), Jerry Byrd and a bass player, formed The Country Cats for a 4-instrumentals session. Fine relaxed boppers : «Hot strings» (# 1410) and «Sun shadows» (# 1430).
Back to Louie Innis recording sessions. He did a good version of the old spiritual « Nobody knows you when you’re down and out », another crossover (# 1406). «The kissing chain» (which he didn’t write) is another mid-paced good novelty. Al Myers makes prowesses on lead (# 1415). The flipside «Let’s make up tonight» goes same, and is equally good bopper. The final side «Sing your song baby» (# 4861) has chorus and a fine guitar. Innis is tending clearly toward rock’n’roll, that he never really reached. Actually he never recorded anything after this last King 1955 session.
In 1961, King issued a remaining track from the Deluxe session of 1948 (unheard). Why this occurred ?
Further adventures of Louis Innis after 1955
He seems to have devoted himself to writing songs for others. Here below is a partial list of artists whom he’d work for :
Chet Atkins, « Mister Misery », 1954
Chet Atkins, « Set a spell » (vocal by Red Kirk), 1954
Fuller Todd, « Old fashioned », 1957
Brenda Lee, « I’m learning about love » (with Grady Martin), 1960
Charles Brown, « Christmas questions », 1961
Conway Twitty, « Portrait of a fool » (with Buddy Killen), 1961
Joe Henderson, « Mr. Voice », 1962
Jimmy Logsdon, « The life of Hank Williams » (with Hawkshaw Hawkins), 1963
Lois Williams, « Don’t take my child away », 1970
and a lot more into the ’70s.
Louie Innis also arranged songs for Don Lane (M.C.A.), date unknown.
Those songs were rejected for certain reasons (primarily because they’d take too much room) :
Oklahoma City/Foggy river (Sterling) ; I’d be ashmaed if I were you (DeLuxe)
Good morning Judge/My dreamboat stuk a snag/I grabbed for the engine (Mercury)
It don’t pay to advertise/Mexican Joe/What a way to die/Suicide/You’ve got it/What’s she got/She rurn’t it/Nobody knows you when you’re down and out/You’re not happy till you’re mad/Jealous hearted woman (King). A good amount of them is on the « Stomp that thing » compilation (on Uncle Gil’s Rockin’ Archives blogsite: unclegil.blogspot.fr)
My thanks go first to Uncle Gil’s Rockin’ Archives blogsite, and as usual, Ronald Keppner for the loan (scan and music) of rare 78 rpm’s. Then to Greg Adams (all music site) for the only biography available on Louis Innis ; to the people of the « King Project » (for Hank Penny King side) ; 78rpm and 45rpm scans on always fruitful « 45worlds.com ». My old fellow Tony Biggs for « Whammy… ». YouTube was useful too. There had been a whole lot of work for this issue : it’s really been a « labor of love » ! I hope you’ll appreciate the result of the study. Thanks for your comments : they always give me courage to go further and deeper into Hillbilly bopping music..
Hi ! Everybody. Ready for this new Fortnight ? From New Orleans on the Meladee label (run by Mel Mallory – I wonder if he launched other labels), here’s JACK WYATT & his Bayou Boys and the fine, uptempo « Why did you let me love you ». Fiddle and steel all long the tune. Actually Meladee issued also discs by Gene Rodrigue (« Jolie fille ») Roy Perkins (« You’re on my mind ») and Jeff Daniels (« Daddy-o rock »). Wyatt had another record on the Kuntry label (# 1000) : « I taught her how to love », a good uptempo, out of J. D. Miller studio in Crowley, La., according to « Jamil » as publishing house.
« You promised me » is the next song by PAUL BLUNT on Bullet 674, backed by a Californian outfit, The Frontiersmen, later set-up in Dallas, TX as a house band for Jim Beck . Blunt is in good voice and plays apparently steel (he was also a capable pianist who found work with many sessions held at Beck’s, including Ray Price or Charlene Arthur). I have previously posted his very good « Walking upstairs” (Bullet 706) in the April 2013 fortnight’s favorites section.
JEAN SHEPARD (born 1933; deceased September 2016) began his career in a duet with Ferlin Huskey, « A dear John letter », a huge hit in 1953 even as a crossover between Country and pop charts. Herself later pursued a solo career. Here’s « Two whoops and a holler » (Capitol 2791, April 1954): a typical Capitol honky tonker with one of the best housebands around in Los Angeles, that of Bill Woods (piano), Lewis Talley (steel), Fuzzy Owen (guitar) and Skeets McDonald on bass. In 1955 Shepard is inducted in the Grand Ole Opry in Nashville. All in all she recorded 73 singles !
Then the veteran EDDIE DEAN (1907-1999) was more known for his crooning things than boppers. We can however remind of 2 great sides on the Sage label, « Impatient blues » being a fine shuffler (#188), and « Rock & Roll cowboy » (# 226), a rare example of Western swing flavoured Rocker (or the opposite).
Finally from 1969 (yes!) on the Laurel Leaf label (# 24172), JAMES TUSSEY delivers a strong and solid bopper (drums present) with « I had a dream of you ».
Sources : Kevin Coffey in the « A shot in the dark » boxset ; Praguefrank for several discographical details ; Hillblly-music.com to complete bios ; Youtube.Thanks Dominique ‘Imperial’ Anglares for the rare Jean Shepard EP.
Sorry, I was not able to give more precise info. this time. Will do better next Fortnight !
For a reason unknown, most of podcasts won’t open. Just click on the “Download” button to hear the music, when the player fails.
Onto the first Fortnight of this Autumn 2016. SMOKEY ROGERS (1917-1993) was a personality of the West coast and bandleader for s strong number of singers (Tex Wlliams, Ferlin Huskey) and releases (Capitol, Coral, Four Star, Starday and Shasta) from 1945 to 1965. On his (apparently) own label, Western Caravan, he even cut the first ever version of the classic « Gone » (# 901) in 1952. His label lasted with a handful of issues until 1955, among them I chose the great instrumental [not often in bopping] « John’s boogie » (Western Caravan 903). A real showcase for any musician involved (including ex-Hank Penny steel player virtuoso Joaquin Murphy), and every of them takes his solo or shines a way or the other. Splendid piano, horns, guitar, and of course steel, over an irresistible shuffle beat.
Another Smokey Rogers’ record has a young vocalist FERLIN HUSKY in April 1950 for « Lose your blues » on Coral 64063 (October 1950). It’s a nice shuffler with Huskey in good voice, and again Joaquin Murphy on steel.
Billboard Aug. 5, 1950 – a proof of popularity of Red Kirk
Several months later (February 1951), RED KIRK, another singer himself modeled on Hank Williams, took at his turn «Lose your blues » for an acceptable version, quite impersonal but backed by the cream of Nashville (Zeke Turner, Louie Innis, Jerry Byrd, Tommy Jackson) , on Mercury 8257. Kirk had many other good songs, for example « Can’t understand a woman (who can’t understand her man »)(# 6288), « Knock out the lights and call the law » (# 6409), or later on Republic 7120 the double-sider « Red lipped girl/Davy Crockett blues » from 1956, , the good ballad “How still the night” on ABC-Paramount 9814, or his version of Loy Clingman‘s « It’s nothing to me » in 1957 on Ring 1503. I chose another Mercury disc, »Cold steel bues » (# 6309) from February 1951 and in the same ‘bluesy’ vein as « Lose your blues ».
From Nashville, TN to Texas and Fort Worth for an Imperial session held in September 1954. FREDDY DAWSON (vocal) backed probably by himself on steel-guitar, Billy Chamber or Buddy Brady (fiddle), Jimmy Rollins (guitar), George McCoy (bass) and Phillip Sanchez (drums) cut 4 tracks, among them the above average « Dallas boogie » (# 8274)(nice fiddle and steel). 2 tracks do remain unissued, and « Why baby why » may not be the George Jones track, an original Jones song cut in August 1955.
We stand in Fort Worth, this time in 1957 with GENE RAY on the Cowtown label # 646 and « I lost my head », a good uptempo bopper. In November he was to cut for the same label the great Rockabilly cum Rocker « Rock and roll fever » on the EP-677, which contained also the good « Love proof ». Was he the same artist as on Playboy 300, who committed on wax « Playboy boogie » ? Nevertheless as front singer of the Dusty Miller’s band, he also had the great rocker « I’m going to Hollywood » in 1960. All these tunes are to be easily found on YouTube or various compilations.
Now to the early ’60s in Orlando, Florida. WEBSTER DUNN, Jr. delivers a good country rocker on first side, « Black and white shoes » on the Dunmar (owned by DUNmar Peckam and MARy Yingst) label # 101. Echoed vocal, nice crisp guitar (+ a bridge), a welcome steel : a well-produced record. The second side has a sort of poppish vocal, although saved by the same guitar (ordinary solo) and steel : « Go go baby » is a typical Country uptempo ballad. (Record valued at $ 75-100).
Next artist seems to have possibly emananated from Dallas, Texas, as his label Amber, one out of three at the same time. It’s a 4* custom # 275 out in December 1957, and the artist is BOB GARMON, who delivers with « His Studio Combo », a neat and tight little band, one of the best Rockabillies ever, « I’m a-ready baby » (valued $ 500 to 1000). Great guitar solo, cool vocal on topical lyrics, the song has everything a Rockabilly devotee could dream of. The flipside, although bluesy, is equally good : a Rockabilly combo trying its hands at Blues for « Positively blues ». A very desirable record !
Finally a R&B rocker by one of the greats, the albino « Blonde Bomber » (remember the Little Richard-esque « Strollie Bun » on Hull?), here under his other alias, LITTLE RED WALTER for « Aw shucks baby » on the N.Y. Le Sage (# 711) label. Walter is on guitar and harmonica (1960).
The Blonde Bomber, alias of Walter Rhodes, or Little Red Walter
Enough for this time ! Sources are 45cat for label scans, or YouTube or Roots Vinyl Guide, even Rockin’ Country Style. 78Rpm-world (mainly Ronald – thanks to him). My own researches on the Net and my archives. Praguefrank’s Country discography (Smokey Rogers, Red Kirk discos). Michel Ruppli’s « Aladdin/Imperial labels » book. Values from : Barry K. John guide or Tom Lincoln/Dick Blackburn book.
(Follow-up of the good article by Phillip J. Tricker in a 1992 Hillbilly Researcher issue, with additions by Bopping’s editor). See earlier the first article.
For the next release in order of issues we return to a Western swing disc with « Jelly roll blues » (# 5010) by fiddler/vocalist Guy “COTTON” THOMPSON & his Village Boys. The song, a jazz standard, which had been cut Western swing style by Cliff Bruner in 1937, has the steel player definitely Herb Remington. Thompson is best known for making Kokomo Arnold‘s « Milk cow blues » (1934) a western swing standard via his 1941 recording with Johnnie Lee Wills [brother of Bob] on Decca 46012, largely to be recorded later by e.g. Joe Martin on Coral, even in a folkish version by Tom Rush. A well known personality in Houston for a long time he had already recorded for GOLD STAR under his own name (« How long » #1381) and a vocalist on early Moon Mullican KING releases. Here he is in great form and the Village Boys cook along well.
JACK RHODES RAMBLERS (# 5011) had « Missing persons » and « How can I tell », although untraced do beggar two questions. First, who would the vocalist be : one Fiddling Bob Henderson ? This was not Mr. Rhodes, already a songwriter, bandleader and promoter, and evidently not a singer. Could it be JIMMY JOHNSON the vocalist, although many others fronted Rhodes’ band? As to « Missing persons », a song with that title appeared on Capitol by FERLIN HUSKEY, and the label credit « Reynolds-Rhodes-Huskey » as songwriters.
Freedom 5013 is untraced. The mysterious TRAILBLAZERS cut « A cowboys silent night » (# 5014), which is delivered ‘acapella’ and has a recitation by CAROL while « Little Moohee » has an acoustic guitar support and GEORGE handles lead vocal. Issued for Christmas 1950, it was cut at ACA studio, a location often used by Freedom, although they also are known to have made recordings at Bill Quinn’s Gold Star setup.
However where the next 78 was cut is a real mystery. HUB SUTTER and his Hub Cats were a superb outfit who recorded for LASSO, 4* and Columbus and Hub had a reputation for putting on a very fine act. « I don’t want my baby back » (# 5015) is a magnificent slab of bluesy Western swing, with Hub’s unique vocal style well suited to the song : he was capable of crooning the cooziest ballads or shouting the most whiskey-soaked blues; the backing is excellent with guitar and steel interweaving well.
Another gap in our knowledge appears at # 5017 and then we have the arrival of one of the most talented Hillbilly singers to come from Texas: JOHNNIE NELMS (born Houston in 1931). His output covers many years and includes a range of labels that extends from Decca to Gold Star, Starday, D and obscure labels like Westry (not in order given). With his Sunset Cowboys, his « If I can’t have you » (# 5018) is pure Texas Hillbilly/Honky tonk music. Great vocal over a superb band with swirling fiddles (Doug Myers), haunting steel (Herb Remington) and brilliant « knocked out rinky dink » piano. The flip side, « The bride to be » has unfortunately an organ backing, but even so Jimmie’s vocal is pure class. Another gap appears at # 5019.
TOMMY SANDS is the most well-known name to record for Freedom. His # 5022 (« Love pains/Syrup soppin’ blues » is extremely rare. Credited as Little Tommy Sands (The West’s Wonder Boy), it is his debut on record. He was not a Texan, born in 1937 in Chicago ; his family moved to Houston when he was young, and he would have been only 14 when he cut his record. Yet his vocal is assured and insouciant, and both sides are excellent boppers with great backing from an uncredited band, except Herb Remington on steel (the lead guitarist, unfortunately afforded no solo space, remains unidentified).
The fine uptempo « Somebody’s stealin’ (my baby’s kisses) » (# 5023) by BOB JONES & his Troubadours is a fast Hillbilly bop ditty. One may wonder if this is the same Bob Jones who appeared later on Starday (# 148 and 210) and more later on, on Dixie # 1070 (April 1964)(I want’ cha baby), valued at $ 50-60. Sorry, no picture available.
Bob Jones “Somebody’s stealin’ (my baby’s kisses)”
Gaps appear on # 5024 and # 5026, sandwiching the great double-sider (# 5025) « Cross roads » and « Hula boogie ». The former is a lugubrious ballad, that was quite a regional hit of little interest, but the latter is a fine bopper with good vocal and the Westernairs providing fine backing which include nice steel. TOMMY DURDEN also recorded for 4* (« That’s where you dropped your candy » with Boots Gilbert) with a band of the same name, led by Vic Cardis (4* 1500) , and for Pappy Daily’s ‘D’ label later, but his main claim to fame is as co-writer of « Heartbreak hotel ».
Issue # 5027 is by LAURA LEE & The Ranch Hands, but I’ve not heard « Everybody but me » ; « I’m lonely for you darling » is a good jumping uptempo (fiddle, steel) song..However it would seem that she is LAURA LEE McBRIDE, the wide of Dickie McBride, whose band probably supply the backing. LAURA LEE is a well-known and respected Western swing vocalist, who, besides recording under her own name (i.e. M-G-M 11086 « I love you boogie »), also sang and recorded with Bob Wills.
This article (and the following ones about the same musical label) is based on the Hillbilly Researcher’s article from 1992 written by expert Phillip. Tricker, and mostly on the notes of other experts Andrew Brown and Kevin Coffey for the compilation “Heading back to Houston” (Krazy Kats CD12) issued ca. 1998. Important additions have been made by bopping’s editor.
The style of Honky Tonk music that Starday commenced to issue in 1953 had developped over the years following the end of WWII and a thriving recording scene had expanded in the Houston area with much of the recorded output appearing on labels like FOUR STAR and more locally labels like MACY’S, NUCRAFT, OPERA, HUMMING BIRD and PHAMOUS to name but just a few. Some, like MACY’S issued over fifty releases while others scaled down to a mere dozen or so and yet others a solitary lone release. One of the most important of these labels was FREEDOM : little was known about the artists and bopping music. However, since 1992 and Phillip Tricker’s article, an important amount of research has been done and we can now have a far better overview of both the label, its owner and the artists.