Mississippi John Hurt *March 8, 1893
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Mississippi John Hurt taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpicked accompaniment. His first recordings, made for Okeh Records in 1928, were commercial failures, and he continued to work as a farmer.
The Library of Congress recorded John in 1964. This helped further the American folk music revival, which led to the rediscovery of many other bluesmen of Hurt's era. Hurt performed on the university and coffeehouse concert circuit with other Delta blues musicians who were brought out of retirement. He also recorded several albums for Vanguard Records.
John Smith Hurt died on November 2, 1966 at the age of 73.
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let the mermaids flirt with me | mississippi john hurt, last sessions
when my earthly trials are over,
cast my body into the sea —
save on the undertaker’s bill,
let the mermaids flirt with me
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Mississippi John Hurt - Spike driver blues
(on Rainbow Quest with Pete Seeger)
Take this hammer, and stick it to Matt's auto...
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"No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. [...] [H]e [...] sang with a warmth unique in the field of blues [...]."
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Mississippi John Hurt † November 2, 1966
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Mississippi John Hurt, Washington Square Park, 1965
Source: 1264doghouse
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232: Mississippi John Hurt // Today!
Today!
Mississippi John Hurt
1966, Vanguard
For good heart health, doctors prescribe Mississippi John Hurt, who can keep you going with the steady pulse of his picking and soothing storytelling even if your ticker’s been ripped out. Hurt’s of that generation of early blues guitarists who recorded a handful of sides in the 1920s, fell out of fashion, and were rediscovered by mid-century ethnomusicologists, with the decades between spent working jobs that involved like punching hogs or clearing obstructed industrial lawnmowers by hand. Hurt’s legendary 1928 sessions are regarded by most as his definitive statement, but I’ll throw in for 1966’s Today!, his third effort, which finds his brisk acoustic fingerpicking undiminished but his voice weathered and rounded by age in a way that suits his gentle, conversational style.
Hurt is my favourite country bluesman, and probably my favourite bluesman period, largely because his music is such a rich soup of folk, rag, jazz, and gospel sounds. At times it’s spooky (“Talkin’ Casey,” a piece that underscores Hurt’s connection to artists like John Fahey), at times it seems to suspend a mirage of American myth on the horizon (“Spike Driver Blues”), but mostly it offers comfort and the quiet joys of companionship, as on “Make Me a Pallet on the Floor” and “Beulah Land.” Hurt was a remarkable and innovative player, but the overall impression you get from his music is one of simplicity, and the immense grace true simplicity contains.
232/365
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