When Cedric Burnside accepted a Grammy in the traditional blues category for his album I Be Trying in 2022, it wasn’t just just a victory for him – it was also the first time any Mississippi Hill Country blues artist had nabbed a golden gramophone.
Music aficionados and tastemakers had long celebrated the blues music of northern Mississippi, though. A third-generation Hill Country bluesman, Cedric learned by watching and then playing alongside his grandfather, R.L. Burnside, whom he affectionately calls his “big daddy,” as well as Junior Kimbrough, who referred to...
Music aficionados and tastemakers had long celebrated the blues music of northern Mississippi, though. A third-generation Hill Country bluesman, Cedric learned by watching and then playing alongside his grandfather, R.L. Burnside, whom he affectionately calls his “big daddy,” as well as Junior Kimbrough, who referred to...
- 4/2/2024
- by Jim Beaugez
- Rollingstone.com
It’s one thing to revive a genre and another to resuscitate a specific type of old-school song. But on “Another Man,” from his new self-titled debut, Buffalo Nichols has both goals in mind: to update the blues and the protest song in the 21st century.
Born in Houston but raised in Milwaukee, Carl “Buffalo” Nichols is a deft fingerpicker and slide guitarist and muted power singer. It’s no surprise that he wound up being signed by Fat Possum, the Mississippi-based indie label that first cemented its rep by...
Born in Houston but raised in Milwaukee, Carl “Buffalo” Nichols is a deft fingerpicker and slide guitarist and muted power singer. It’s no surprise that he wound up being signed by Fat Possum, the Mississippi-based indie label that first cemented its rep by...
- 11/1/2021
- by David Browne
- Rollingstone.com
An official selection at the 1992 Sundance Film Festival, Robert Mugge’s music documentary Deep Blues has now been restored and is arriving this fall. In 1990, commissioned by Dave Stewart of Eurythmics, veteran music film director Mugge and renowned music scholar Robert Palmer ventured deep into the heart of the North Mississippi Hill Country and Mississippi Delta to seek out the best rural blues acts currently working. Ahead of release at Metrograph and in Virtual Cinemas on October 13 via Film Movement, we’re pleased to debut the new trailer.
Starting on Beale Street in Memphis, they headed south to the juke joints, lounges, front porches, and parlors of Holly Springs, Greenville, Clarksdale, Bentonia, and Lexington. Along the way, they visited celebrated landmarks and documented talented artists cut off from the mainstream of the recording industry. The resulting film expresses reverence for the rich musical history of the region, spotlighting local performers,...
Starting on Beale Street in Memphis, they headed south to the juke joints, lounges, front porches, and parlors of Holly Springs, Greenville, Clarksdale, Bentonia, and Lexington. Along the way, they visited celebrated landmarks and documented talented artists cut off from the mainstream of the recording industry. The resulting film expresses reverence for the rich musical history of the region, spotlighting local performers,...
- 9/28/2021
- by Jordan Raup
- The Film Stage
The Black Keys have shared the music video for their rendition of R.L. Burnside’s “Poor Boy a Long Way From Home,” off the duo’s covers LP Delta Kream.
Like the video for their take on John Lee Hooker’s “Crawling Kingsnake” and their virtual Late Show appearance in May, the Black Keys and their band — including guitarist Kenny Brown and bassist Eric Deaton, Burnside’s former sidemen — perform the track at Jimmy Duck Holmes’ Blue Front Café in Bentonia, Mississippi. The Blue Front is the oldest active juke joint in the U.
Like the video for their take on John Lee Hooker’s “Crawling Kingsnake” and their virtual Late Show appearance in May, the Black Keys and their band — including guitarist Kenny Brown and bassist Eric Deaton, Burnside’s former sidemen — perform the track at Jimmy Duck Holmes’ Blue Front Café in Bentonia, Mississippi. The Blue Front is the oldest active juke joint in the U.
- 8/12/2021
- by Daniel Kreps
- Rollingstone.com
The Black Keys will perform at three intimate theaters in U.S. cities named after foreign cities when the blues-rock duo embarks on their “World Tour” in September. Singer-guitarist Dan Auerbach and drummer Patrick Carney will play Athens, Georgia; St. Petersburg, Florida; and Oxford, Mississippi.
Carney acknowledged the cheekiness of the idea in a press release on Wednesday. “Dan and I have joked about doing a tour of American cities named after other cities in the world since we were touring together in a van. It feels like now is...
Carney acknowledged the cheekiness of the idea in a press release on Wednesday. “Dan and I have joked about doing a tour of American cities named after other cities in the world since we were touring together in a van. It feels like now is...
- 7/21/2021
- by Joseph Hudak
- Rollingstone.com
Dan Auerbach was in his Easy Eye Sound studio in Nashville producing an album for the soul singer Robert Finley when he had the urge to call his drummer in the Black Keys, Patrick Carney. Guitarist Kenny Brown and bassist Eric Deaton, who played with bluesmen R.L. Burnside and Junior Kimbrough, respectively, were together in the same room at Easy Eye and Auerbach couldn’t resist the chance to jam on the vintage blues songs that shaped the Black Keys with the very men who played them. “It was just too much.
- 6/2/2021
- by Joseph Hudak
- Rollingstone.com
Hours after releasing their new album Delta Kream, the Black Keys appeared virtually on The Late Show to perform a pair of tracks from their covers LP.
Guitarist Dan Auerbach, drummer Patrick Carney and their backing band of musicians huddled in a room to play R.L. Burnside’s “Going Down South” as well as their rendition of Junior Kimbrough’s version of the John Lee Hooker classic “Crawling Kingsnake.”
Delta Kream, the Black Keys’ follow-up to 2019’s Let’s Rock, features covers of country blues tracks from Mississippi legends like Burnside,...
Guitarist Dan Auerbach, drummer Patrick Carney and their backing band of musicians huddled in a room to play R.L. Burnside’s “Going Down South” as well as their rendition of Junior Kimbrough’s version of the John Lee Hooker classic “Crawling Kingsnake.”
Delta Kream, the Black Keys’ follow-up to 2019’s Let’s Rock, features covers of country blues tracks from Mississippi legends like Burnside,...
- 5/15/2021
- by Daniel Kreps
- Rollingstone.com
The Black Keys have never been afraid to look backward — especially concerning the blues. The first two tracks of their 2002 debut, The Big Come Up, were lively, low-fi covers of tunes by Mississippi juke-joint bluesmen R.L. Burnside and Junior Kimbrough, and their 2006 EP, Chulahoma, was a full-on, we’re-not-worthy Kimbrough tribute that ended with a voicemail from the late blues belter’s widow telling them how much she loved their renditions.
Kimbrough and Burnside’s rough ’n’ rowdy guitar wailing and foot stomping has fueled the Keys’ own variety of...
Kimbrough and Burnside’s rough ’n’ rowdy guitar wailing and foot stomping has fueled the Keys’ own variety of...
- 5/14/2021
- by Kory Grow
- Rollingstone.com
Las Vegas – Endo, the up-and-coming powerhouse band from Sin City, recently announced their debut album, “Anhedonia,” which will release on Friday, May 14th, 2021. It’s two-person rock, with John Badwolf on vocals/guitar and Saint Christopher on drums. Their (click links) 13 track debut includes the single “In Love With You.”
The rock pair was involved in every step of the creative process for their debut – laying down, mixing and mastering the tracks, in addition to creating the artwork for the album. Besides the original songs, the brothers in sound cover a Tom Waits song, the notably titled “Heartattack and Vine.”
’Anhedonia,’ the Debut Album of Endo
Photo credit: Facebook @EndoBandOfficial
Jeff Doles, the music writer of HollywoodChicago.com, recently sat down with John and Chris of Endo, to talk about the new album and the future beyond the pandemic.
HollywoodChicago.com: Your music is raw and powerful. I hear a...
The rock pair was involved in every step of the creative process for their debut – laying down, mixing and mastering the tracks, in addition to creating the artwork for the album. Besides the original songs, the brothers in sound cover a Tom Waits song, the notably titled “Heartattack and Vine.”
’Anhedonia,’ the Debut Album of Endo
Photo credit: Facebook @EndoBandOfficial
Jeff Doles, the music writer of HollywoodChicago.com, recently sat down with John and Chris of Endo, to talk about the new album and the future beyond the pandemic.
HollywoodChicago.com: Your music is raw and powerful. I hear a...
- 5/13/2021
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The Black Keys have released a cover of blues musician R.L. Burnside’s song “Going Down South,” the second single from the band’s upcoming album Delta Kream.
“That was one of R.L. Burnside’s hits! We strayed a little from the original on our version with the falsetto and percussion, but we liked how it sounded in that moment,” Dan Auerbach said in a statement. “It’s become one of my favorites on the album.”
“Going Down South” was released on Monday with an accompanying music video directed by Ryan Nadzam.
“That was one of R.L. Burnside’s hits! We strayed a little from the original on our version with the falsetto and percussion, but we liked how it sounded in that moment,” Dan Auerbach said in a statement. “It’s become one of my favorites on the album.”
“Going Down South” was released on Monday with an accompanying music video directed by Ryan Nadzam.
- 5/3/2021
- by Claire Shaffer
- Rollingstone.com
The Black Keys returned to the stage for the first time in over a year to play a four-song set during the Triller Fight Club boxing event at Atlanta’s Mercedes-Benz Stadium Saturday.
Although Dan Auerbach and Patrick Carney announced a new album earlier in the week, the duo’s mini-set focused on their hits, with the Black Keys and their backing band rifling through “I Got Mine,” “Howlin’ for You,” “Gold on the Ceiling” and “Lonely Boy” during their 15-minute performance.
The Black Keys were scheduled to embark on...
Although Dan Auerbach and Patrick Carney announced a new album earlier in the week, the duo’s mini-set focused on their hits, with the Black Keys and their backing band rifling through “I Got Mine,” “Howlin’ for You,” “Gold on the Ceiling” and “Lonely Boy” during their 15-minute performance.
The Black Keys were scheduled to embark on...
- 4/18/2021
- by Daniel Kreps
- Rollingstone.com
The Black Keys reconnect with the blues songs that informed their early years on the duo’s 10th studio album Delta Kream.
Recorded in Nashville at the studio of Black Keys singer-guitarist Dan Auerbach, the record finds Auerbach and Keys drummer Patrick Carney paying homage to bluesmen like R.L. Burnside, Junior Kimbrough, and Fred McDowell over 11 songs. Delta Kream, the follow-up to the Black Keys’ 2019 album Let’s Rock, will be released May 14th on Nonesuch Records.
The band preview the upcoming project with the single “Crawling Kingsnake,” an ominous,...
Recorded in Nashville at the studio of Black Keys singer-guitarist Dan Auerbach, the record finds Auerbach and Keys drummer Patrick Carney paying homage to bluesmen like R.L. Burnside, Junior Kimbrough, and Fred McDowell over 11 songs. Delta Kream, the follow-up to the Black Keys’ 2019 album Let’s Rock, will be released May 14th on Nonesuch Records.
The band preview the upcoming project with the single “Crawling Kingsnake,” an ominous,...
- 4/15/2021
- by Joseph Hudak
- Rollingstone.com
The Black Keys knew expectations were high for their Let’s Rock tour, their first in years. So how did the band choose what songs to play? “We just went to the top 25 songs on Spotify,” jokes singer-guitarist Dan Auerbach.
“We thought about ones that were fun to play live, and also picked some ones we haven’t played in a while. We kind of threw it together, and it really worked out pretty damn good.”
That was true at the band’s recent show at Brooklyn’s Barclays Center,...
“We thought about ones that were fun to play live, and also picked some ones we haven’t played in a while. We kind of threw it together, and it really worked out pretty damn good.”
That was true at the band’s recent show at Brooklyn’s Barclays Center,...
- 11/5/2019
- by Patrick Doyle
- Rollingstone.com
Jason Isbell has spent a good deal of 2019 focusing less on his Grammy-winning songwriting and more on the instrument that enabled his rise from Muscle Shoals to Music City — his guitar.
Isbell, whose six-string skills helped define a trio of Drive-By Truckers albums before he found solo success, has recently played sideman to country supergroup the Highwomen and backed Sheryl Crow on her cover of Bob Dylan’s “Everything Is Broken.”
While logging road miles with his backing band the 400 Unit this summer, he worked bluesy guitar bends into the new song “Overseas,...
Isbell, whose six-string skills helped define a trio of Drive-By Truckers albums before he found solo success, has recently played sideman to country supergroup the Highwomen and backed Sheryl Crow on her cover of Bob Dylan’s “Everything Is Broken.”
While logging road miles with his backing band the 400 Unit this summer, he worked bluesy guitar bends into the new song “Overseas,...
- 10/16/2019
- by Jim Beaugez
- Rollingstone.com
North Mississippi Allstars return with “What You Gonna Do?,” a funky, revved-up take on the vintage gospel song originally found on the Staple Singers’ 1965 album Freedom Highway. The new track, appropriately featuring special guest Mavis Staples on vocals, is the first to surface from the Allstars’ new studio album Up and Rolling, which will be released on October 4th via New West Records.
Led by brothers Cody and Luther Dickinson, the band recorded their 10th studio album at the Zebra Ranch, a family studio opened by the Dickinsons’ late father Jim,...
Led by brothers Cody and Luther Dickinson, the band recorded their 10th studio album at the Zebra Ranch, a family studio opened by the Dickinsons’ late father Jim,...
- 6/26/2019
- by Jedd Ferris
- Rollingstone.com
The Walking Dead, Season 5, Episode 4: “Slabtown”
Directed by Michael E. Satrazemis
Written by Matthew Negrete and Channing Powell
Airs Sundays at 9pm Et on AMC
“Everything costs something, right?”
The mystery of Beth Greene’s whereabouts has been solved.
I’ve said it before, and I’ll say it again; The Walking Dead does well with episodes featuring fewer characters that we know. “Slabtown”, written by Matthew Negrete and Channing Powell, is a testament to the improvement of the writing ever since Scott M. Gimple took over as show-runner. That the hour maintains the quality and entertainment of previous episodes without Rick and the gang, is good news. Putting Beth, and only Beth, in the spotlight back in season two would have been ill advised, but ever since last season’s “Still,” Beth is a character we’ve all come to know and love. Of course “Still” is one of those episodes mentioned above,...
Directed by Michael E. Satrazemis
Written by Matthew Negrete and Channing Powell
Airs Sundays at 9pm Et on AMC
“Everything costs something, right?”
The mystery of Beth Greene’s whereabouts has been solved.
I’ve said it before, and I’ll say it again; The Walking Dead does well with episodes featuring fewer characters that we know. “Slabtown”, written by Matthew Negrete and Channing Powell, is a testament to the improvement of the writing ever since Scott M. Gimple took over as show-runner. That the hour maintains the quality and entertainment of previous episodes without Rick and the gang, is good news. Putting Beth, and only Beth, in the spotlight back in season two would have been ill advised, but ever since last season’s “Still,” Beth is a character we’ve all come to know and love. Of course “Still” is one of those episodes mentioned above,...
- 11/4/2014
- by Ricky
- SoundOnSight
Last week, I wasn't so sure that I wanted to spend an hour catching up with Beth (Emily Kinney), who's been absent so far from the fifth season of "The Walking Dead." After viewing Sunday's episode, "Slabtown," I'm still not entirely convinced.
I wouldn't call it a bad episode, per se; like HitFix critic Alan Sepinwall, I found it miles better than the insipid Governor-centric installment from season four, one of the show's few forays into solo character episodes. Beth has grown by leaps and bounds in terms of character development since her introduction as Hershel's suicidal daughter in season two, and her budding relationship with Daryl (whether it's romantic or platonic is Tbd) added new shades to her personality that made her seem integral to the show for the first time. But my problem with Beth's big showcase episode - which finds her trapped in a hospital in downtown...
I wouldn't call it a bad episode, per se; like HitFix critic Alan Sepinwall, I found it miles better than the insipid Governor-centric installment from season four, one of the show's few forays into solo character episodes. Beth has grown by leaps and bounds in terms of character development since her introduction as Hershel's suicidal daughter in season two, and her budding relationship with Daryl (whether it's romantic or platonic is Tbd) added new shades to her personality that made her seem integral to the show for the first time. But my problem with Beth's big showcase episode - which finds her trapped in a hospital in downtown...
- 11/3/2014
- by Katie Roberts
- Moviefone
The Black Keys have always had a little Bad Company in them, even back when they were jamming on Junior Kimbrough songs in small clubs. All it took to expose the band’s arena-rock side was a series of actual arena gigs, which finally happened with 2010’s Brothers, one of the few rock records of the 21st century to get within spitting status of platinum status. El Camino is the first Black Keys record made for the band’s newly expanded audience, and it’s been properly fine-tuned for maximum impact amid massive crowds. Frequent collaborator Danger Mouse is ...
- 12/6/2011
- avclub.com
El Obo is basically the one-man side project of Jesse Coppenbarger, frontman of Mississippi rockers Colour Revolt. Varying friends and musicians—from another buzzy Miss. rock act, Flight, to Junior Kimbrough’s son (!!!), Kinney—contributed to Oxford Basement Collection, the band’s several-years-in-the-works debut record, but it’s mostly Coppenbarger, laying his anguished singing voice over a myriad of folk-influenced arrangements and experimental sounds. And it’s a great rock ‘n’ roll voice, too, one that’s moody and evocative in such a way that indicates he’s either a) seen some shit during his brief time on this planet or b) pretty good at faking like...
- 5/9/2011
- Pastemagazine.com
A spellbinding documentary about the Mississippi blues, ''Deep Blues, '' hosted by former New York Times music critic Robert Palmer and commissioned by British rocker Dave Stewart, is veteran filmmaker Robert Mugge's best film to date.
Not merely a record of a musical tradition, the film is actually a discovery, both of extraordinary musicians who have never seen the inside of a recording studio -- including the nearly legendary Junior Kimbrough -- and of a reblossoming of a music with clearly discernible African roots.
It is in Los Angeles for a one-week run at the Grande as part of the AFI USA Independent Showcase, but further exposure, via cable, public television, video, or even further theatrical distribution, could well prove profitable.
The film opens on the gentrified streets of Memphis' old blues quarter, where Palmer and Stewart meet and talk about the background of the musicians they are going to record. The pair then travel to the back hills of Northern Mississippi, a region long scanted by record makers in favor of the Delta region to the south.
It is here that the film makes its most intriguing stops, not just at Kimbrough's jumping, backroads juke joint -- where the guitarist performs an astonishing number, part propulsive, part haunting -- but at the home of guitarist Booker T. Lawry. At a large picnic, we see Jessie Mae Hemphill's Fife and Drum band, a trio whose performance layers elements of traditional American music over a stong African base.
As the film progresses, Palmer explains in a non-pedantic manner the folk, social and religious roots of the music, some trends of which combine in the appearance of young Lonnie Pitchford, who demonstrates the primitive ''diddleybow'' and performs a classic Robert Johnson song, a song taught him in youth by the legendary bluesman's stepson, Robert Junior Lockwood.
This easy melding of performance and history marks the film, which follows the Mississippi south to the Delta region, and concludes with a look at the performers of Greenville, Clarksdale, and other famed towns in the musically and agriculturally fertile region.
These performers, including Roosevelt Barnes and Big Jack Johnson, who perform in relatively large clubs in full-size bands, get the movie's most extended playing times.
The film's notes promise a soundtrack album, a welcome addition given the lack of exposure many of these musicians have received. Meanwhile, the movie -- which features excellent sound recording -- should serve as their best calling card.
DEEP BLUES
Radio Active Films and Oil Factory Ltd.
Producers Eileen Gregory, John Stewart
Executive producer David A. Stewart
Director-editor Robert Mugge
Writer, interviewer, music director Robert Palmer
Director of photography Erich Roland
Sound recording William Barth
Line producer Robert Maier
Color
With: Junior Kimbrough, Jessie Mae Hemphill, Roosevelt ''Bubba'' Barnes, Big Jack Johnson, Lonnie Pitchford
Running time -- 91 minutes
No MPAA rating
(c) The Hollywood Reporter...
Not merely a record of a musical tradition, the film is actually a discovery, both of extraordinary musicians who have never seen the inside of a recording studio -- including the nearly legendary Junior Kimbrough -- and of a reblossoming of a music with clearly discernible African roots.
It is in Los Angeles for a one-week run at the Grande as part of the AFI USA Independent Showcase, but further exposure, via cable, public television, video, or even further theatrical distribution, could well prove profitable.
The film opens on the gentrified streets of Memphis' old blues quarter, where Palmer and Stewart meet and talk about the background of the musicians they are going to record. The pair then travel to the back hills of Northern Mississippi, a region long scanted by record makers in favor of the Delta region to the south.
It is here that the film makes its most intriguing stops, not just at Kimbrough's jumping, backroads juke joint -- where the guitarist performs an astonishing number, part propulsive, part haunting -- but at the home of guitarist Booker T. Lawry. At a large picnic, we see Jessie Mae Hemphill's Fife and Drum band, a trio whose performance layers elements of traditional American music over a stong African base.
As the film progresses, Palmer explains in a non-pedantic manner the folk, social and religious roots of the music, some trends of which combine in the appearance of young Lonnie Pitchford, who demonstrates the primitive ''diddleybow'' and performs a classic Robert Johnson song, a song taught him in youth by the legendary bluesman's stepson, Robert Junior Lockwood.
This easy melding of performance and history marks the film, which follows the Mississippi south to the Delta region, and concludes with a look at the performers of Greenville, Clarksdale, and other famed towns in the musically and agriculturally fertile region.
These performers, including Roosevelt Barnes and Big Jack Johnson, who perform in relatively large clubs in full-size bands, get the movie's most extended playing times.
The film's notes promise a soundtrack album, a welcome addition given the lack of exposure many of these musicians have received. Meanwhile, the movie -- which features excellent sound recording -- should serve as their best calling card.
DEEP BLUES
Radio Active Films and Oil Factory Ltd.
Producers Eileen Gregory, John Stewart
Executive producer David A. Stewart
Director-editor Robert Mugge
Writer, interviewer, music director Robert Palmer
Director of photography Erich Roland
Sound recording William Barth
Line producer Robert Maier
Color
With: Junior Kimbrough, Jessie Mae Hemphill, Roosevelt ''Bubba'' Barnes, Big Jack Johnson, Lonnie Pitchford
Running time -- 91 minutes
No MPAA rating
(c) The Hollywood Reporter...
- 11/15/1991
- The Hollywood Reporter - Movie News
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