Raised in Avalon, Mississippi, Hurt taught himself how to play the guitar around age nine. Singing to a melodious finger-picked accompaniment, he began to play local dances and parties while working as a sharecropper. He first recorded for Okeh Records in 1928, but these were commercial failures. Hurt then drifted out of the recording scene, and he continued his work as a farmer. Tom Hoskins, a blues enthusiast, would be the first to locate Hurt in 1963. He convinced Hurt to relocate to Washington, D.C., where he was recorded by the Library of Congress in 1964. This rediscovery helped further the American folk music revival, which had led to the rediscovery of many other bluesmen of Hurt's era. Hurt entered the same university and coffeehouse concert circuit as his contemporaries, as well as other Delta blues musicians brought out of retirement. As well as playing concerts, he recorded several studio albums for Vanguard Records.
Born John Smith Hurt in Teoc, Carroll County, Mississippi (there is confusion about his date of birth, but the grave marker mentions March 8, 1892) and raised in Avalon, Mississippi, he learned to play guitar at age nine. He was completely self-taught, stealthily playing the guitar of a friend of his mother's, who often stayed at the Hurt home while courting a lady who lived near by. His style was not reminiscent of any other style being played at the time; it was the way Hurt "thought the guitar should sound". He spent much of his youth playing old time music for friends and dances, earning a living as a farmhand into the 1920s. His fast, highly syncopated style of playing made his music adept for dancing. On occasion, a medicine show would come through the area; Hurt recalls being wanted by one of them. "One of them wanted me, but I said no because I just never wanted to get away from home." In 1923 he partnered with the fiddle player Willie Narmour as a substitute for his regular partner Shell Smith.
When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh Records producer Tommy Rockwell. After auditioning "Monday Morning Blues" at his home, he took part in two recording sessions, in Memphis and New York City (see Discography below). While in Memphis, Hurt recalled seeing "many, many blues singers ... Lonnie Johnson, Blind Lemon Jefferson, Bessie Smith, and lots, lots more." Hurt described his first recording session as such:
... a great big hall with only the three of us in it: me, the man [Rockwell], and the engineer. It was really something. I sat on a chair, and they pushed the microphone right up to my mouth and told me that I couldn't move after they had found the right position. I had to keep my head absolutely still. Oh, I was nervous, and my neck was sore for days after.
Hurt attempted further negotiations with Okeh to record again, but after the commercial failure of the resulting records, and Okeh Records going out of business during the Great Depression, Hurt returned to Avalon and obscurity, working as a sharecropper and playing local parties and dances.
After Hurt's renditions of "Frankie" and "Spike Driver Blues" were included in The Anthology of American Folk Music in 1952, and an Australian man discovered a copy of "Avalon Blues", there became increased interest in finding Hurt himself. In 1963, a folk musicologist, Tom Hoskins, supervised by Richard Spottswood, was able to locate Hurt near Avalon, Mississippi using the lyrics of "Avalon Blues":
Avalon, my home town, always on my mind/Avalon, my home town.
While in Avalon, Hoskins convinced an apprehensive Hurt to perform several songs for him, to ensure that he was genuine. Hoskins was convinced, and seeing that Hurt's guitar playing skills were still intact, Hoskins encouraged him to move to Washington, D.C., and begin performing on a wider stage. His performance at the 1964 Newport Folk Festival saw his star rise amongst the new folk revival audience. Before his death he played extensively in colleges, concert halls, coffee houses and also on The Tonight Show Starring Johnny Carson, as well as recording three further albums for Vanguard Records. Much of his repertoire was recorded for the Library of Congress, also. His fans particularly liked the ragtime songs "Salty Dog" and "Candy Man", and the blues ballads "Spike Driver Blues" (a variant of "John Henry") and "Frankie".
Hurt incorporated a fast, pick-less, syncopated fingerpicking style that he taught himself. He was influenced by very few people; but did recall an elderly, unrecorded, blues singer from that area, Rufus Hanks, who played twelve-string guitar and harmonica. He also recalled listening to the country singer Jimmie Rodgers. On occasion, Hurt would use an open tuning and a slide, as he did in his arrangement of "The Ballad of Casey Jones".
Hurt's influence spanned several music genres including blues, country, bluegrass, folk and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a mellow mix of country, blues and old time music.
Material recorded by Hurt has been re-released by many record labels over the years (see discography); and his influence has extended over many generations of guitarists. Songs recorded by Hurt have been covered by Bob Dylan, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey and Gillian Welch.
Hurt died on November 2nd, 1966, of a heart attack in Grenada, Mississippi.
There is now a memorial in Avalon, Mississippi for Mississippi John Hurt. It is parallel to RR2, the rural road on which he grew up.
American singer-songwriter Tom Paxton, who met Hurt and played on the same bill as him at the Gaslight in Greenwich Village around 1963, wrote and recorded a song about him in 1977 entitled "Did You Hear John Hurt?" Paxton still frequently plays this song at his live performances.
The first track of John Fahey's 1968 solo acoustic guitar album Requia is entitled "Requiem For John Hurt". Fahey's posthumous live album The Great Santa Barbara Oil Slick also features a version of the piece, there entitled "Requiem For Mississippi John Hurt".
British folk/blues artist Wizz Jones recorded a tribute song called "Mississippi John" for his 1977 album Magical Flight.
Boys You're Welcome
Mississippi John Hurt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Is that-a-way
Just as welcome, boy
As the flowers in May
Oh boys, you's welcome
I said, you're welcome
You're welcome, boy
Just a little bit of sausage
And a little eggs
Yes, it will fill
Hollow leg
Oh boys, you's welcome
I said, you're welcome
You're welcome, boy
Yes, you's welcome
Just a little bit of coffee
And a little milk
It will go down
Smooth as silk
Ooo boys, you's welcome
I said, you're welcome
You're welcome, boys
Yes, you's welcome
Just a little bit
And a little bread
Well, you might as well
Go back to bed
Oo boys, you's welcome
I said, you're welcome
You're welcome, boys
Yes, you's welcome
You're welcome, boys
Oh yes, you's welcome
You're welcome, boys
Yes, you's welcome
Oh, it's my heart
Is a-that-a-way
Just as welcome, boys
As the flowers in May
Oh boys, you're welcome ...
The song "Boys You're Welcome" by Mississippi John Hurt is a classic example of the blues genre. The song starts with the lines "Oh, it's my heart, is that-a-way/Just as welcome, boy, as the flowers in May." This could mean that the singer is eager for the boys to arrive as they are as welcome as spring flowers. Alternatively, it could mean that the singers are welcoming the boys with open arms into their community and love just like they would welcome spring flowers. The boys could be seen as representing new life, new energy or new love.
The singer then goes on to describe a few simple things that the boys can have: just a little bit of sausage and eggs or coffee and milk, which will go down smooth as silk. It's interesting to note that these simple pleasures are what the singer is sharing with the boys. There's a sense of generosity and hospitality that the singer is displaying, which is a common theme in the blues.
The last verse of the song goes, "Just a little bit/ And a little bread/ Well, you might as well/ Go back to bed." This could be the singer's way of saying that the boys are welcome to stay as long as they want and enjoy what's been offered to them. At the same time, the singer doesn't want them to feel like they have to eat all that's on offer. It's a subtle way of saying that they can take what they want, but they don't need to overindulge.
Overall, the song "Boys You're Welcome" is a beautiful example of Mississippi John Hurt's ability to capture the emotions of everyday people through his music. It's a simple, yet powerful message of welcome, generosity, and warmth that can resonate with people from different generations and backgrounds.
Line by Line Meaning
Oh, it's my heart
Mississippi John Hurt expresses his affection towards his guests by saying that they have his heart.
Is that-a-way
He points to his heart and shows its location with these words.
Just as welcome, boy
He assures his guests that they are as welcome as the flowers in May.
As the flowers in May
He uses this comparison to emphasize how welcome his guests are.
Oh boys, you's welcome
He repeats his welcome message in a friendly tone.
I said, you're welcome
He clarifies his message to ensure that his guests understand how much they are appreciated.
You're welcome, boy
He addresses his guests once again to show how much he cares about them.
Yes, you's welcome
He stresses the sincerity of his welcome message.
Just a little bit of sausage
Mississippi John Hurt promises to feed his guests with a small serving of sausage.
And a little eggs
He adds some eggs to the menu.
Yes, it will fill
His guests will be satisfied with the serving offered.
Hollow leg
He uses this phrase to describe how hungry his guests must be.
Just a little bit of coffee
Mississippi John Hurt offers his guests coffee.
And a little milk
He adds some milk to the coffee.
It will go down
The coffee will be easy to drink.
Smooth as silk
He uses this phrase to describe how easy the coffee will be to drink.
Ooo boys, you's welcome
He uses this phrase to repeat his welcome message in a playful tone.
Just a little bit
He promises his guests that they will be fed with a small serving.
And a little bread
He adds bread to the menu.
Well, you might as well
He uses this phrase to suggest that his guests might as well go back to bed after eating.
Go back to bed
He assures his guests that they will be full and can go back to bed.
You're welcome, boys
He repeats his welcome message to show how much he cares about his guests.
Oh yes, you's welcome
He assures his guests that they are welcome in a positive tone.
Yes, you's welcome
He emphasizes the sincerity of his welcome message.
Oh boys, you're welcome
He uses this phrase to bring the song to a friendly conclusion.
Writer(s): John S. Hurt
Contributed by Scarlett F. Suggest a correction in the comments below.
@TinTin-qz2dx
I can listen to his voice for days on end. mister Hunt, I appreciate your life's work with all my heart.
@jarettrodriguez7218
This song literally makes me cry tears of joy, and I don’t know why.
@jameskandy
His voice is as welcome as the flowers in May
@T-Dogg121
Beautiful
@nickremon
it will go down smoooth as sillk!
@sonjadietz5297
BEST ! RIP
@patrickgoold1232
"Boys, you welcome" NOT "you're welcome"