Spread the love

Mississippi Hill Country Blues is a unique blues music style hailing from the northern reaches of Mississippi, celebrated for its signature repetitive and hypnotic rhythms, typically played on a single chord. This unique music form mirrors the influences of African rhythms and traditions, distinguishing itself through its raw, gritty sounds. More than that, while the style reimagines the blues, it layers the dense fabric of music history by directly encoding real-life events and personal experiences into its lyrical content, adding a compelling layer of authenticity. Pioneers like R.L. Burnside, whose lauded 1994 album 'Too Bad Jim' is renowned for its gritty guitar riffs and raw vocals, Junior Kimbrough and Fred McDowell led the genre to new heights. Their work inspired and paved the way for contemporary blues and rock musicians as well as newer artists such as Keith Hallet, Garrett Mason and Cedric Burnside, a testament to its enduring influence. Fat Possum Records deserves a special note here, their valuable contribution in promoting this style cannot go unnoticed, not least for bringing this distinct vibrancy to mainstream audiences. For an in-depth exploration of the genre, the documentary 'You See Me Laughin'' presents a captivating perspective. In summary, Mississippi Hill Country Blues embodies the spirit of cultural exchange and is a vibrant expression of regional identity that continues to inspire and evolve.

The Mississippi hill country blues guitar, a mesmerizing raw, hypnotic style of music known for its repetitive rhythms often set on a single chord, has gifted us a plethora of talented musicians over the years. The gritty sound and authentic lyrical content, often echoing real-life experiences, has strongly appealed to audiences across generations. Stepping out from this revered tradition are modern-day torchbearers like Keith Hallet and Garrett Mason who have successfully captured the spirit of this distinctive blues style. Another noteworthy exponent of the Hill Country Blues is Kenny Brown, who apprenticed under the legendary R.L. Burnside. Modern acts such as The John Spencer Blues Explosion have played a crucial role in renewing interest in this genre, even spurring R.L. Burnside's induction into the Blues Hall of Fame in 2006. They have deftly echoed the past while providing unique interpretations, highlighting the sheer depth and fluidity of the Mississippi Hill Country Blues. Moreover, the album 'Too Bad Jim' by R.L. Burnside, released in 1994, stands as a towering monument in this genre and is particularly cherished for its raw, gritty guitar riffs. The influence of this style has had a profound effect on contemporary blues and rock musicians, inspiring many and contributing to the rich musical landscape. It was through such fundamental works, and the tireless promotion by pioneers like Fat Possum Records, that this distinctive style has been carried into the present day. It's also essential not to miss 'You See Me Laughin', a gripping documentary that offers priceless insights into the tenacity and spirit of these hill country blues artists.

Exploring R.L. Burnside's 'Too Bad Jim' - A Staple in Mississippi Hill Country Blues

As a quintessential emblem of the Mississippi Hill Country Blues style, R.L. Burnside's influential album "Too Bad Jim," released in 1994, embodied a resonant musical epoch that helped shape the genre's distinctive sound. Iconically produced by Tom Rothrock and Rob Schnapf, this opus magnified the raw power and hypnotic rhythms of Burnside's gritty guitar work and soul-searing vocals, faithfully capturing the seminal bluesman's mastery of the northern Mississippi blues tradition. Resonating with a personal authenticity that breathes life into every track, the album's title song "Too Bad Jim" encapsulates Burnside's signature driving beat and captivating chorus, echoing the mesmerizing single-chord laments that typify Hill Country blues. Throughout, Burnside skillfully pays homage to blues classics, adding his characteristic grit to timeless tracks like "Rollin' and Tumblin'" and "Jumper on the Line". This landmark release reflects not only Burnside's monumental contribution to the blues and rock music scenes but also the broader evolution of the genre. His visceral interpretation of everyday struggles and triumphs invites listeners to engage deeply with a musical heritage that continues to inspire and inform contemporary artists and audiences alike. Supported by the pivotal role of Fat Possum Records in propelling the style's popularity, the enduring influence of "Too Bad Jim" testifies to the enduring vitality of Mississippi Hill Country Blues, while simultaneously encouraging an exploration of the ongoing narrative captured in the documentary 'You See Me Laughin'.

Thankfully the Burnside dynasty of blues continues as Cedric the Grandson of Robert is also a great blues guitarist. Initially, a Drummer but The Guitar called upon him to become the hill country blues guitarist we know today.

Cedric Burnside- “We Made It” (OFFICIAL VIDEO)

HILL COUNTRY BLUES GUITAR Great RL Burnside November 23, 1926-September 1, 2005

If you have your name and Face In a museum you have to be good. The Man who said “my name is Robert too” was on the top of lists of the best bluesmen and His Soul and Personality are ingrained in the albums “Ass Pocket of Whiskey” and“Too bad Jim”

Chicago and Texas blues Have their own sound which is undeniable. There is a refinement involved which even though the original Delta blues was primal was given a sophistication in the playing of Robert Johnson.

The North Mississippi Hill country has retained the Primal fashion over the decades. It’s all about a groove and in most cases, the songs never changed out of the one chord basis. The Result is a Hypnotic style where that groove can make one forget about time. 

To some, it sounds simple. I assure you it’s not. As a player myself I’ve taken on the approach of the songs and it wasn’t quick getting there. There may be a rhythmic twitch or a shift of timing.  Like trying to learn the “One” which is the basis of Funk, if you aren’t getting it with authority, you are not getting it. Having covered many songs by R.L. Burnside in a club gig didn’t happen with ease. In the earlier years of my own music, I caught flack for not changing keys. The Point is if you are finding the trance that that music inspires and you are in the zone if it ain’t broke don’t fix it. It’s done for a reason.

R.L. Burnside: See My Jumper Hanging On the Line (1978)

John Lee Hooker and Lightnin’ Hopkins were influential as many of these men didn’t pick up the Guitar until their later years. As for the rebellion to conformity, they understood their position as original men, Individuals who did as they pleased. Lightning Hopkins upon being chastised for unusual timing of chord changes responded simply “Lightnin change when Lightnin’ want to change.” You don’t like it? There’s the door… One can see that in the lives of the Hill Country players.

I came to know about the men who were down south from “Fat Possum Records”. They were championing the music on not only R.L. but the likes of T Model Ford,  Junior Kimbrough, and Cedell Davis. They also had a Hand in new music at the time of an unknown Ohio Band called “The Black Keys”. 

Remembering Junior Kimbrough – I’m Leaving You Baby

The other aspect of this style of music was you may find any combination or configuration. It could be one man alone, it might be a two-man band like The Keys, or two guitarists and a drummer which opened my mind to what would be the foundation later for my work with “Uncle Mont’s Quandry” and Black Cat Mass in its original form. “Anything goes, as long as it’s good ” and How you got there made no difference.

This exposure from “Fat Possum” along with Guitarist Luther Dickinson would bring the spirit and even the artists to the Public eye and the youth by putting them in Fests like “Bonnaroo”.

The subject matter of the songs was also as real as it gets. My favorite quote from anyone ever was when R.L. Burnside was asked to explain him shooting a man.  “I didn’t kill him now, I just shot him. I told him it was up to him and the Lord about dying.” He had been Gambling, throwing dice, and had won around $400 and the fellow wanted his money back. The Dice were not loaded, but the Gun was.

R.L. was sentenced to 5 years in prison but was out in 6 months.

T Model did KILL a man in self-defense by stabbing at the age of 18. He spent time regardless on the Chain Gang for it.

These were not the men to mess with. If it is being sung, it’s based on Truth and experience.

Cedell Davis who was stricken with Polio and also had the misfortune of being trampled during a Juke Joint riot did not let it stop his playing. He could no longer play in a traditional way so he flipped the guitar upside down and used a butter knife as his fingers. Not simply for a slide only but for the replacement of fingers to play the notes as well. That is Determination if anyone ever had it.

The Gear employed to play the music is also all about necessity and affordability. The guitars were often Japanese Teisco’s, anything you can find in the Pawnshop or trade a shotgun for, or in the case of T Model Ford a Peavey guitar and amp together.  If you are a Guitarist of any length of time you have probably used the Peavey amp at some point, they are reliable, built like a tank, and can last a lifetime. What many don’t know is as odd as many Peavy guitars are to look at, they have the most streamlined necks of any electric guitar. Comfort Like an old Cadillac. Sometimes Uglier than homemade Sin, but great guitars nonetheless.

Junior Kimbrough’s first release “All Night Long” is a Study in the Hill Country Blues. It Got his name in Rolling Stone Magazine and other Guitar Magazines, yet it’s been debated if he had ever left Mississippi before he found himself playing In Europe. At one point Junior was called to tour with Iggy Pop, the request was made by Iggy Himself. Junior called him Lollipop and they had a fun and successful time together.

These men played music for the love of it and had no aspirations beyond survival income. There has always been a delicate balance of financial trust and distrust among the recording industry but from all accounts, Fat Possum Records not only captured many of the Blues Men at their best on record but financially they were as T Model said “White Angels”. 

Fat Possum has moved along and now has a roster of young Blood, some influenced by the records of the old Masters and some outside the tradition doing their own thing.  I encourage anyone to seek out the Fat Possum documentary “You see me Laughin'” it is a highly worthy watch.   It will make you smile, think and like Old R.L. say “Well Well Well!”