His style of modern electric blues was marked by its hypnotic modal guitar rhythms, backwoods singing style and nocturnal lyrics. He was a long-time associate of labelmate R.L. Burnside and the Burnside and Kimbrough families often collaborated on musical projects.
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 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. His music is characterized by the tricky syncopations between his droning bass strings and his mid-range melodies. His soloing style has been described as modal and features languorous runs in the mid and upper register. The result was described by music critic Robert Palmer as "hypnotic". In solo and ensemble settings it is often polyrhythmic, which links it explicitly to the music of Africa. Fellow North Mississippi bluesman and former Kimbrough bassist Eric Deaton has suggested similarities between Junior Kimbrough's music and Malian bluesman Ali Farka Touré's.
In 1966 Kimbrough traveled to Memphis, Tennessee from his home in North Mississippi and recorded for the R&B/gospel producer and owner of the Goldwax record label, Quinton Claunch. Claunch was a founder of Hi Records (whose entire catalog will be reissued by Fat Possum) and is known as the man that gave James Carr and O.V. Wright their start. Kimbrough recorded one session in one afternoon at American Studios. Claunch declined to release the recordings, deeming them too country. Forty some years later, Bruce Watson of Big Legal Mess Records approached Claunch to buy the original master tapes and the rights to release the recordings made that day. These songs were released by Big Legal Mess Records in 2009 as First Recordings. Kimbrough's debut release was a cover version of Lowell Fulson's "Tramp" released as a single on independent label Philwood in 1967. On the label of the record Kimbrough's name was spelled incorrectly as Junior Kimbell and the song "Tramp" was listed as "Tram?" The b-side was "You Can't Leave Me".
Among his other early recordings are two duets with his childhood friend, rockabilly musician, Charlie Feathers in 1969. Feathers counted Kimbrough as an early influence and Kimbrough gave Feathers some of his earliest lessons on guitar. Charlie Feathers called Kimbrough "the beginning and end of all music." This is written on Kimbrough's tombstone outside his family's church, the Kimbrough Chapel Missionary Baptist Church near Holly Springs.
Kimbrough recorded very little in the 1970s, contributing an early version of "Meet Me in the City" to a European blues anthology. With his band, the Soul Blues Boys, Kimbrough recorded again in the 1980s, releasing a single in 1982 ("Keep Your Hands Off Her" b/w "I Feel Good, Little Girl"). The High Water label recorded a 1988 session with Kimbrough and the Soul Blues Boys, releasing it in 1997 with his 1982 single as "Do The Rump".
Beginning around 1992, he operated a juke joint known as "Junior's Place" in Chulahoma, Mississippi, which attracted visitors from around the world, including members of U2 and The Rolling Stones. Kimbrough's sons, musicians Kinney and David Malone Kimbrough, kept it open following his death, until it burned to the ground on April 6, 2000.
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 Junior's son Kent "Kinney" Kimbrough (aka Kenny Malone) on drums and R. L. Burnside's son Garry Burnside on bass guitar. The album featured many of his most celebrated songs, including the title track, the complexly melodic "Meet Me In The City," and "You Better Run" a harrowing ballad of attempted rape. All Night Long earned near-unanimous praise from critics, receiving four stars in Rolling Stone. His stock continued to rise the following year after live footage of him playing "All Night Long" in one of his juke joints appeared in the Robert Mugge directed, Robert Palmer narrated film documentary, Deep Blues: A Musical Pilgrimage to the Crossroads. This performance was actually recorded earlier in 1990.
A second album for Fat Possum, Sad Days, Lonely Nights, followed in 1994. A video for the album's title track featured Kimbrough, Garry Burnside and Kent Kimbrough playing in Kimbrough's juke joint. The last album he would record, Most Things Haven't Worked Out, appeared on Fat Possum in 1997. Following his death in 1998 in Holly Springs, Fat Possum released two posthumous compilation albums of material Kimbrough recorded in the 1990s, God Knows I Tried (1998) and Meet Me in The City (1999). A greatest hits compilation, You Better Run: The Essential Junior Kimbrough, followed in 2002. Fat Possum also released a tribute album, Sunday Nights: The Songs of Junior Kimbrough, in 2005, which featured Iggy & The Stooges (Kimbrough once toured with frontman Iggy Pop), The Black Keys and Mark Lanegan. The Black Keys have released an album composed entirely of covers of Junior's music, Chulahoma. Richard Johnston, a Kimbrough protégé, keeps this musical tradition alive with one of Junior's sons, via live performances on Beale Street in Memphis.
Junior Kimbrough died in 1998 following a stroke. He was the father of 36 children from various relationships.
Tramp
Junior Kimbrough Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
What you call me?
Tramp.
You didn't!
You don't wear continental clothes, or Stetson hats.
Well I tell you one dog-gone thing. It makes me feel good to know one thing. I know I'm a lover.
Matter of opinion.
That's all right, Mama was. Papa too. And I'm the only child. Lovin' is all I know to do.
What?
You're country.
That's all right.
You straight from the Georgia woods.
That's good.
You know what? You wear overalls, and big old brogan shoes, and you need a haircut, Tramp.
Haircut? Woman, you foolin', ooh, I'm a lover. Mama was. Grandmama, Papa too. Boogaloo.
All that stuff. And I'm the only son-of-a-gun this side of the Sun. Tramp!
You know what, Otis? I don't care what you say, you're still a tramp.
What?
That's right. You haven't even got a fat bankroll in your pocket.
You probably haven't even got twenty-five cents.
I got six Cadillacs, five Lincolns, four Fords, six Mercuries, three T-Birds, Mustang,
Ooooooohhh, I'm a lover. Mama was. Papa too. I tell you one thing.
Well tell me.
I'm the only son-of-a-gun this side of the sun.
You're a tramp, Otis.
No I'm not.
I don't care what you say, you're still a tramp.
What's wrong with that?
Look here. You ain't got no money.
I got everything.
You can't buy me all those minks and sables and all that stuff I want.
I can buy you minks, rats, frogs, squirrels, rabbits, anything you want, woman.
Look, you can go out in the Georgia woods and find them, Baby.
Oh, you foolin'.
You're still a tramp.
That's all right.
You a tramp, Otis. You just a tramp.
That's all right.
You wear overalls. You need a haircut, baby.
Cut off some of that hair off your head.
You think you a lover, huh?
The lyrics to Junior Kimbrough's "Tramp" depict a conversation between two people, where one person is teasingly calling the other a "tramp." The other person defends themselves by proudly proclaiming themselves as a "lover." The conversation continues with the first person pointing out the other person's lack of fashion sense and money, to which the other person responds with their family's love for one another and their reputation as a lover.
The song is up for interpretation, as it is unclear what the nature of the conversation is between the two people. Some may interpret it as a playful exchange between two lovers, while others may interpret it as a commentary on societal standards of wealth and fashion. However, one thing that is clear is the pride that the second person takes in their identity as a lover, no matter what others may say.
Line by Line Meaning
Tramp!
Addressing someone with a derogatory term.
What you call me?
Asking what the term means.
Tramp.
Identifying the person as a tramp.
You didn't!
Disbelief that they were called a tramp.
You don't wear continental clothes, or Stetson hats.
Implying that the person is not stylish.
Well I tell you one dog-gone thing. It makes me feel good to know one thing. I know I'm a lover.
Stating that despite not being stylish, the person is a lover.
Matter of opinion.
Disagreeing with the person about being a lover.
That's all right, Mama was. Papa too. And I'm the only child. Lovin' is all I know to do.
Explaining that the person is from a loving family and that is all they know how to be.
You know what, Otis?
Addressing Otis again.
What?
Asking Otis a question.
You're country.
Stating that Otis is from the country.
That's all right.
Agreeing that being from the country is okay.
You straight from the Georgia woods.
Further specifying where Otis is from.
That's good.
Expressing approval of Otis' roots.
You know what? You wear overalls, and big old brogan shoes, and you need a haircut, Tramp.
Pointing out Otis' lack of fashion sense.
Haircut? Woman, you foolin', ooh, I'm a lover. Mama was. Grandmama, Papa too. Boogaloo.
Ignoring the comment about the haircut and reiterating the family's ability to love.
All that stuff. And I'm the only son-of-a-gun this side of the Sun. Tramp!
Emphasizing that the person is unique and distinct.
You know what, Otis? I don't care what you say, you're still a tramp.
Disagreeing with Otis' claim that he's a lover and calling him a tramp.
What?
Asking for clarification on being called a tramp again.
That's right. You haven't even got a fat bankroll in your pocket.
Asserting that Otis is not wealthy.
You probably haven't even got twenty-five cents.
Further emphasizing Otis' lack of wealth.
I got six Cadillacs, five Lincolns, four Fords, six Mercuries, three T-Birds, Mustang, Ooooooohhh, I'm a lover. Mama was. Papa too. I tell you one thing.
Bringing up his possessions as a counterargument to being called a tramp and reaffirming the family's love.
Well, tell me.
Asking Otis what he wants to say next.
I'm the only son-of-a-gun this side of the sun.
Reiterating that he is unique.
You're a tramp, Otis.
Calling Otis a tramp again.
No I'm not.
Disagreeing with being called a tramp.
I don't care what you say, you're still a tramp.
Disagreeing with Otis again and calling him a tramp.
What's wrong with that?
Asking why being called a tramp is a problem.
Look here. You ain't got no money.
Asserting again that Otis is not wealthy.
I got everything.
Denying the previous statement and claiming to have everything.
You can't buy me all those minks and sables and all that stuff I want.
Explaining that material possessions are not the key to their love.
I can buy you minks, rats, frogs, squirrels, rabbits, anything you want, woman.
Offering to buy anything for the woman.
Look, you can go out in the Georgia woods and find them, Baby.
Suggesting that they don't need to buy things when they can find them in nature.
Oh, you foolin'.
Expressing disbelief at the suggestion.
You're still a tramp.
Repeating that Otis is a tramp.
That's all right.
Accepting that they are a tramp.
You a tramp, Otis. You just a tramp.
Reasserting that Otis is indeed a tramp.
That's all right.
Resigning to the fact that they are a tramp.
You wear overalls. You need a haircut, baby. Cut off some of that hair off your head. You think you a lover, huh?
Continuing the critique of Otis' appearance and sarcastically asking if he thinks he's a lover.
Contributed by Camilla M. Suggest a correction in the comments below.
@TheMsGtg
my favorite Junior tune.... that sound is just... heavenly cooked and devilishly raw
@MRFUCR
first , my funky fucrz ,cheerz NY
@iBullyDemons
Second
@Reno_SF
No turkey. SF