Last Man Standing

Last Man Standing (2011)


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Last Man Standing US S02E01 HDTV XviD-AFG

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    Hill Country blues  is a regional offshoot of country blues style characterized by few chord changes, unconventional song structures, and an emphasis on the groove or a steady, driving rhythm (sometimes referred to as a drone style).  Its a mistake to assume that Delta blues and hill country blues are entirely distinct.  Musicians from each tradition share a common stock of songs.  Some musicians who hail from the Delta, like Paul Wine Jones and T-Model Ford, sound more like hill country players.  In the early 20th century, Delta Blues left home for Chicago where it later became famous, while Hill Country Blues stayed behind in Mississippi. According to theorists, Hill Country blues developed its obsessively geographic name to avoid being confused with Delta Blues.
                         PART  428
              MISSISSIPPI FRED McDOWELL  -  Good Morning Little Schoolgirl
              R.L. BURNSIDE  -  When My First Wife Left Me (1978)
              JESSIE MAE HEMPHILL  - You can talk about me  (1991)
              JUNIOR KIMBROUGH   - Junior, I love you (All night long) (1991)
              BIG JACK JOHNSON  -  Catfish blues (1992)
              SEASICK STEVE  -  Cut My Wings  (2008)
          Mississippi Fred McDowell (January 12, 1904 - July 3, 1972). Fred McDowell may be considered the first of the bluesmen from the North Mississippi region to achieve widespread recognition for his work. A version of the states signature musical form somewhat closer in structure to its African roots (often eschewing the chord change for the hypnotic effect of the droning, single chord vamp), the north hill country blues style may be heard to have been carried on in the music of such figures as Junior Kimbrough and R. L. Burnside, while serving as the original impetus behind creation of the Fat Possum record label out of Oxford, Mississippi. McDowell was not averse to associating with many younger rock musicians: He coached Bonnie Raitt on slide guitar technique and was reportedly flattered by The Rolling Stones rather straightforward, authentic version of his You Gotta Move on their 1971 Sticky Fingers album.
        Jessie Mae Hemphill (October 18, 1923  July 22, 2006) was an American electric guitarist, songwriter, and vocalist specializing in the primal, North Mississippi hill country blues traditions of her family and regional heritage.
         David Junior Kimbrough (July 28, 1930 -January 17, 1998) . Junior Kimbrough was born in Hudsonville, Mississippi and lived in the North Mississippi Hill Country near Holly Springs. Kimbrough began playing guitar in his youth, and counted Fred McDowell and Lightnin Hopkins as an early influence. In the late 1950s he began playing in his own style, which made use of mid-tempo rhythms and a steady drone he played with his thumb on the bass strings of his guitar. This style would later be cited as a prime example of regional north hill country blues. He recorded for the Fat Possum Records label. He was a long-time associate of labelmate R. L. Burnside, and the Burnside and Kimbrough families often collaborated on musical projects. Kimbrough came to national attention in 1992 with his debut album, All Night Long. Robert Palmer produced the album for Fat Possum Records, recording it in a local church with Juniors son Kent Kinney Kimbrough on drums and R. L. Burnsides son Garry Burnside on bass guitar.
         Big Jack Johnson (July 30, 1940  March 14, 2011). Johnson was born in Lambert, Mississippi. His father was a blues and country musician. Johnson started playing guitar with him, but in his teens shifted to an electric guitar. After meeting Frank Frost and Sam Carr at the Savoy Theatre in Clarksdale, Mississippi in 1962, they performed as The Jelly Roll Kings and The Nighthawks for 15 years, recording for Phillips International and Jewel Records with Frost as the bandleader. Johnson, along with R. L. Burnside, Paul Wine Jones, Roosevelt Booba Barnes and James Super Chikan Johnson, were present-day exponents of an edgier, electrified version of the raw, uncut Delta blues sound. 		
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