The world lost Mississippi John Hurt twice. The first time was during the Depression. Hurt, a self-taught musician from a small town in Mississippi named Avalon, had recorded twice for Okeh Records in Memphis in 1928. A few singles were released and then John Hurt “disappeared” without a trace when the Depression hit until the early 1960’s when a fan named Tom Hoskins “found” Hurt again in Mississippi. The bluesman had spent much of his life as a laborer, picking cotton and corn, while continuing to play and sing at community dances and the like. When asked about his disappearance, Hurt said, “I was right there in Avalon all the time...Never moved.” (Taken from the liner notes of this album) He enjoyed a resurgence of success at this time until the world lost Mississippi John Hurt the second time—his death in 1966.

Though John Hurt’s story of being found and lost and found again only adds to the significance of his life, his music is the true wonder. Not only was Hurt self-taught, with little or no influence from other musicians, his playing style differs from other blues players of the time. Hurt played in an intricate, highly syncopated finger method with no picks. Though his voice is fairly unremarkable, it’s his distinctive style that has fascinated blues aficionados for years. When Sony released “Avalon Blues: The Complete 1928 Okeh Recordings” in 1996 I just had to get my hands on a copy.

I’ve always been a proponent of music enthusiasts discovering the ‘roots’ of the music they love, by discovering ‘roots’ music—blues, country, bluegrass, etc. People like Mississippi John Hurt are the forefathers of many of today’s musicians and they are worth experiencing even if you generally aren’t into this type of music.

All the songs her are fairly short and provide a good introduction to Hurt and real blues/folk music in general. Each of the songs here tells a story about life in the 1920’s South. “Frankie” talks about a man doing a woman wrong against a backdrop of ethereal guitar work. Each note streams together into a rolling soundscape that sounds so simple, yet is clearly complex. “Nobody’s Dirty Business” is one of the tracks that were actually released as a single in the 1920’s. Hurt’s guitar has more of a twang here as he laments how people talk about his woman: Ain’t nobody’s doggone business how my baby treat me, nobody’s business but my own. “Candy Man Blues” has a more upbeat feel and even though I know it’s just Hurt and his guitar I am amazed at the rich sound he creates. “Spike Driver Blues” is easily my favorite among these impressive songs. In true folk storyteller fashion, Hurt sings about John Henry and his hammer. The music here is mellow, while still focusing on Hurt’s finger picking.

The lore and history contained in just one of these tracks is worth the purchase of this album. Mississippi John Hurt touches on almost every topic of daily life—relationships, work, religion, and events of his time. His guitar style is brilliant and unmatched in depth, accuracy, humility, and a strong dose of heart and soul. This is one album that will never get lost in my collection—and it really should find its way into yours.

Track Listing:
1. Frankie
2. Nobody’s Dirty Business
3. Ain’t No Tellin’
4. Louis Collins
5. Avalon Blues
6. Big Leg Blues
7. Stack O’ Lee
8. Candy Man Blues
9. Got the Blues (Can’t be Satisfied)
10. Blessed be the Name
11. Praying on the Old Camp Ground
12. Blue Harvest Blues
13. Spike Driver Blues

Recommended: Yes