{"title":"Fat Possum Essential","description":"\u003cp\u003eThe early years of Fat Possum. Hill Country, raw, energetic blues from R.L. Burnside, Junior Kimbrough, Asie Payton, T-Model Ford, Paul 'Wine' Jones and more.\u003c\/p\u003e","products":[{"product_id":"darker-blues-book","title":"Darker Blues Book","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eDARKER BLUES is a 100+ page limited edition book featuring the work of award-winning photographer \u003cstrong\u003eDavid Raccuglia\u003c\/strong\u003e, as well as classic Fat Possum photos.\u003c\/p\u003e\n\u003cp\u003e-Darker Blues comes with a TWO CD set packaged in the back cover of the book. One of the CDs is a 7 track EP of brand new remixes and previously unreleased tracks from R.L. Burnside. 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Burnside he came from the hill country of Mississippi. Stark music with deep primal rhythms and drones, his music is very powerful and hypnotic. Kimbrough ran a juke joint that was the focal point of the local blues scene and was prominently featured in Robert Palmer’s documentary Deep Blues and in the founding of the influential Fat Possum record label. This is a short EP featuring the earliest tracks he recorded for the label. Some of the standard Kimbrough tunes that he would play for the rest of his career are here like the very potent “Done Got Old” which is an unflinching look at age over a primal beat and slashing guitar. “Meet Me In the City” is emotional and stark in nature, but at the same time quite beautiful. 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While he was known to have played local dances and juke joints in the hill country of North Mississippi during the 1940's and 50's, competing with the likes of Fred McDowell, no known recordings of Ranie were made until the 70's and early 80's while he was living in Senatobia. During that time he recorded two sides for a regional 45 single and was later recorded by Leo Bruin, both in Senatobia and during a trip Ranie made to the Netherlands. Some of those recordings appear on the Swingmaster CD Going Down South, along with tracks by harmonica player Johnny Woods and R.L. Burnside, whom Ranie mentored and often played with. Burnette's music, like the aforementioned artists, is strongly rooted in the rhythmic tradition of the fife and drum bands from the region, which you'll hear on this 11-song collection, also recorded by Leo Bruin. Ranie Burnette died in Memphis, TN, on January 23, 2000 and is buried in the cemetery at Ebeneezer Missionary Baptist Church in Como, MS\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDisc: 1\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e1. Cool Black Mattie\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Lonesome Moon Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Gone Dead on You\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Two and Two Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. One String Baby\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Miss Mabelle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. Hungry Spell\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8. Dough Roller Blues\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9. Turn on Down\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. Shake 'Em on Down\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11. 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That said, Davis doesn't really sound like anyone else on the label...nor any other for that matter. His angular, atonal bottleneck guitar playing and garbled vocals are bound to offend many fans of slick, contemporary urban blues, but for a raw taste of the Delta you need not look further. Although the songs and performances on The Horror of It All rank a notch below those on 1994's Feel Like Doin' Something Wrong, it's still a strong outing. Davis goes it alone with his guitar on most of the tracks; joined only by drums on one song; and drums, bass, and second guitar on another. Yet, despite the sparseness of the instrumentation, the album offers more variety than most of the contemporaneous releases on the label. Davis veers comfortably from the type of hypnotic, droning blues favored by deceased labelmate Junior Kimbrough on tracks like \"The Horror\" to John Lee Hooker-like boogies such as \"I Want You.\" Mostly, though, Davis sounds like no one so much as himself. As per usual with Fat Possum Records releases, even the most familiar blues on the album (e.g., \"Keep on Snatchin' It Back, \"Coon Can Mattie\") are listed as originals, and one song (\"If You Like Fat\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eWomen\") is reprised from the earlier album. None of which matters, of course, when the performances are this spirited. Davis manages to make each of these songs his own. The Horror of It All makes a nice addition to any Delta blues collection.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e-Jeff Knokel\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/allmusic.com\/\"\u003eAllmusic.com\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e1. Coon Can Mattie\u003c\/p\u003e\n\u003cp\u003e2. Chicken Hawk\u003c\/p\u003e\n\u003cp\u003e3. Keep on Snatchin It Back\u003c\/p\u003e\n\u003cp\u003e4. The Horror\u003c\/p\u003e\n\u003cp\u003e5. 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Arkansas native Jim Mize’s new breakthrough album, simply called Jim Mize, stakes his claim among them.\u003c\/p\u003e\n\u003cp\u003eAs its nine songs reveal, Mize is a primal rock ’n’ roll visionary who colors his music with hues borrowed from blues and garage psychedelia, and writes with a stark brevity that punctuates every heartbeat of the characters who draw the attention of his pen: car parkers and bar tenders, boozehounds and love-drunk couples, the longing and the satisfied, the faithful and the lost.\u003c\/p\u003e\n\u003cp\u003eSongs like “Drunk Moon Falling,” culled from an overheard conversation at an Austin restaurant, and the gorgeously textured “Eminence, Kentucky” reflect the same dirt-road view of life limned with traces of the surreal that permeate the writings of such masterful Southern novelists as Larry Brown and Barry Hannah, both of whom hail from Oxford, Mississippi. Coincidentally that’s also the home of Mize’s label Big Legal Mess, a subsidiary of Fat Possum Records.\u003c\/p\u003e\n\u003cp\u003eMize has spent most of his 57 years wandering among such characters. As an insurance adjuster traveling the South and West for more than 30 years, he’s seen people at their most resilient and at their most vulnerable.\u003c\/p\u003e\n\u003cp\u003e“I’ve been through nine hurricanes and I don’t know how many tornadoes, and seen way too many car wrecks where people got killed,” Mize says in his big, bawling voice. “I saw two guys carrying a rolled up carpet with a pair of legs sticking out of it after Hurricane Andrew in Florida … and all kinds of people pushed to their limit. That’s connected to the songs I write. I always keep my antennae up. All of my tunes boil down to one thing, and that’s observations.”\u003c\/p\u003e\n\u003cp\u003eListening to Jim Mize, it’s easy to observe that despite all of the harsh reality Mize has experienced, he’s still an incurable romantic. “Rabbit Hole,” which kick-starts the album with Mize’s hypnotic, staccato guitar, is about falling helplessly into the vortex of love. And “This Moment With You” captures the ignition point of blissful, all-consuming infatuation. The emotional flip side is the bare-knuckled “Bleed,” in which a couple slices each other’s hearts with intractably venomous words.\u003c\/p\u003e\n\u003cp\u003e“I enjoy love songs the most, whether they’re happy or sad,” Mize muses. “With love, you can never run out of things to write about. But the most important thing is, my songs have to be honest. When I’m out there playing I believe every damn word that I’m singing.”\u003c\/p\u003e\n\u003cp\u003eMize is joined by two fellow maverick Southern songwriter-guitarists on his third album: dusty blues modernist Jimbo Mathus (formerly of Squirrel Nut Zippers) and burgeoning American root-pop alchemist from Memphis John Paul Keith, who take turns as instrumental foil to Mize’s raw-but-inventive riffing and expressionistic solos — a style he developed playing juke joints, sock hops and dive bars around his native Conway, Arkansas, which is 30 miles, but a world away, from the concrete corridors of state capitol Little Rock.\u003c\/p\u003e\n\u003cp\u003eMize still lives in Conway, although he spent time in Germany after faking his ID to enlist in the Army at age 17. And while the dirt road he grew up on is now paved, little else has changed. Despite Conway’s bucolic college town status, in true outsider fashion Mize prefers keeping to himself. On Saturday afternoons, when his wife’s gone grocery shopping, he can be found pacing the front porch of his house, cogitating over chord changes and the other makings of new songs. “That’s my favorite time to write,” he says. “Or at night in my living room over a toddy. I love the writing process and I like to write mostly when I’m by myself, which makes sense, because I’ve never really fit in, exactly, even when I was kid. I guess you could say I was a misfit.”\u003c\/p\u003e\n\u003cp\u003eBeing a juvenile loner sharpened Mize’s perspective as an artist. At age 12, while struggling to get a handle on guitar — “I never could copy what musicians played on records worth a damn,” he offers — Mize fell in love for the first time. He lost his heart to Glenn Campbell’s 1968 hit “Wichita Lineman,” swooning for Jimmy Webb’s sweeping, orchestral arrangement. Mize’s affection for the song may have been ripened by the fact that his father was a wire chief crew for the telephone company, but “Wichita Lineman”’s combination punch of textural sweep and artful lyrics sent his head spinning and inspired Mize to spend his alone hours writing songs.\u003c\/p\u003e\n\u003cp\u003e“From then on, I understood how powerful words could be in creating pictures and I understood that the notes on the guitar weren’t as important as the sounds it could make,” Mize attest. “Today I base my songs on the chords and riffs I come up with, but what I really do is think sonically.” That explains Mize’s arresting use of open tunings and slide guitar textures, as well as the adventurous route of his solos in numbers like “Eye to Eye,” where Mize’s guitar see-saws between two notes, dancing like the seductive Gypsy described in the song before exploding into a series of growling partial chords.\u003c\/p\u003e\n\u003cp\u003eMize didn’t enter a recording studio until his late 30s, instead channeling his creative energy into stockpiling songs and occasional live performances. Initially both reflected his passion for the classic country music he heard on the radio and on TV, as well as the blues that seemingly crept out of the soil in Arkansas and Mississippi. As time passed, rock also slinked into his musical vocabulary and fellow eccentrics like Tom Waits and Junior Kimbrough took their place alongside Johnny Cash, Howlin’ Wolf and Merle Haggard among Mize’s influences.\u003c\/p\u003e\n\u003cp\u003eMize says his “big break” came in 1994, when he was cutting some demos at Fat Possum’s studio in Water Valley, Mississippi with label co-owner Bruce Watson, who has since produced all of Mize’s recordings. “Cary Hudson and Laurie Stirrat from the band Blue Mountain were there, and when they heard my song ‘Let’s Go Runnin’ they decided to record it,” he recounts. That well-loved tune appeared on Blue Mountain’s 1995 disc Dog Days.\u003c\/p\u003e\n\u003cp\u003eThe new Jim Mize captures its namesake at the apex of his art and follows 2000’s No Tell Moteland 2007’s Release It to the Sky. Together they trace his evolution as an off-trail songwriter distilling his influences into an original voice of power and depth. Those recordings and his ongoing relationship with Blue Mountain, who also cut Mize’s “Emily Smiles,” have given Mize his own eager fan base. But so far he hasn’t traveled beyond Arkansas’ bordering states as a musician, limiting his extended forays to investigating insurance claims. Which is how he likes it … for now.\u003c\/p\u003e\n\u003cp\u003e“The music business is tough,” Mize observes. “My friends in bands tour, and I’ve got to admit that crowding into a van, sleeping on people’s floors and eating bad food is not for me. 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It occurred in the early afternoon, while he was driving a tractor in the same fields he’d worked most of his sixty years. For all of 1995 and most 1996, Fat Possum tried unsuccessfully to convince Asie that the world outside Mississippi needed to hear him. But despite living below the poverty level and desperately needing the easy money of a gig, he could not be lured away from Washington County for more than a couple of hours. \u003cbr\u003e\u003cbr\u003eFat Possum succeeded in recording Asie twice: once at Junior Kimbrough’s club, and once at Jimmy’s Auto Care, Fat Possum’s old studio. Obviously, all the songs on Worried were recorded during these two sessions and originally intended to be demo tapes. At the time, all we knew about Asie was that he lived in a shotgun shack — no phone, no a\/c; and that whenever the fields were dry enough for tractor tires, he was working in them. When they were too wet, Asie was impossible to find. He lived in Holly Ridge almost all of his life and, like his father before him, spent Saturday nights playing in one of the two small grocery stores that qualify Holly Ridge for a name on the map– a place, instead of just a county-road intersection.\u003c\/p\u003e\n\u003cp\u003e1. Back to the Bridge  \u003cbr\u003e2. Do Me Right \u003cbr\u003e3. 1000 Years  \u003cbr\u003e4. I Got a Friend\u003cbr\u003e5. Need My Help  \u003cbr\u003e6. Livin' in So Much Pain  \u003cbr\u003e7. You Got Me Doin' Things  \u003cbr\u003e8. Why'd You Do It \u003cbr\u003e9. Nobody but You \u003cbr\u003e10. Lose My Happy Home \u003cbr\u003e11. You Don't Want Me \u003cbr\u003e12. Watch Yourself  \u003cbr\u003e13. Asie's Story \u003cbr\u003e14. 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Bauer widely samples the R\u0026amp;B, blues, rockabilly, and funk that are at the root of the Jon Spencer Blues Explosion sound. But the guitarist treats his influences a bit more gingerly on his own than with Spencer, while still injecting a punk spirit. Guests include the North Mississippi All-Stars, Cody and Luther Dickinson, and former Boss Hog member (and neighbor) Hollis Queens.  -John Duffy Allmusic.com 4\/5\u003c\/p\u003e\n\u003cp\u003e1. Well, Well, Well \u003cbr\u003e2. Mend Your Heart \u003cbr\u003e3. Only One \u003cbr\u003e4. All My Brothers, Sisters Too! \u003cbr\u003e5. Silver String \u003cbr\u003e6. Rhythm Bound \u003cbr\u003e7. Fix Fences\u003cbr\u003e8. Beautiful Dream \u003cbr\u003e9. Late as Night  \u003cbr\u003e10. Feel Right  \u003cbr\u003e11. Streets \u0026amp; Lights  \u003cbr\u003e12. My Baby Fell Down the Well  \u003cbr\u003e13. Like a Rock \u003cbr\u003e14. Phaedo \u003cbr\u003e15. 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The tracks were recorded by folklorist George Mitchell at J.W.’s house in Ariton, AL in 1981 \u0026amp; 1982.\u003cbr\u003e\u003cbr\u003e1.  Hoboing Into Hollywood\u003cbr\u003e2.  Sundown Blues\u003cbr\u003e3.  Trucking Little Women\u003cbr\u003e4.  Little Louise\u003cbr\u003e5.  When Your Gal Packs Up And Leaves\u003cbr\u003e6.  My Mind Gets to Wandering\u003cbr\u003e7.  Careless Love\u003cbr\u003e8.  Rabbit On A Log\u003cbr\u003e9.  The Escape of Corinna\u003cbr\u003e10. Hwy 51\u003cbr\u003e11. A Long Old Lane\u003cbr\u003e12. You're Gonna Miss Me\u003c\/div\u003e","brand":"J.W. 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Now, Bauer's guitar shoots swiftly through his band's basic roots-rock, establishing prominence while still eschewing loping solos; Bauer's vocals, clean and wobbly, humbly offer quiet, plaintive observations (\"My dirty laundry tops the list of my confusion\"). \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e-Amanda Petrusich \u003c\/span\u003e\u003ca href=\"http:\/\/pitchfork.com\/\"\u003ePitchfork.com\u003c\/a\u003e\u003cspan\u003e 6.9\/10\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e1. Easy Living \u003c\/p\u003e\n\u003cp\u003e2. Gypsy Babe \u003c\/p\u003e\n\u003cp\u003e3. Unquiet Glam \u003c\/p\u003e\n\u003cp\u003e4. Barely Breathing (for Hank Williams)  \u003c\/p\u003e\n\u003cp\u003e5. Clover \u003c\/p\u003e\n\u003cp\u003e6. Ship is Sinking Fast\u003c\/p\u003e\n\u003cp\u003e7. Drown the Whole World \u003c\/p\u003e\n\u003cp\u003e8. Life Doesn't Rhyme\u003c\/p\u003e\n\u003cp\u003e9. Everybody Knows My Name \u003c\/p\u003e\n\u003cp\u003e10. 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