{"title":"Big Legal Mess","description":"\u003cp\u003eBrowse our Big Legal Mess collection. Free Shipping.\u003c\/p\u003e","products":[{"product_id":"bad-moon-rising","title":"Bad Moon Rising","description":"\u003cdiv class=\"xmi5d70 x1fvot60 xo1l8bm xxio538 xbsr9hj xuxw1ft x6ikm8r x10wlt62 xlyipyv x1h4wwuj xeuugli x1uvtmcs\"\u003eBad Moon Rising\u003c\/div\u003e","brand":"Jack Oblivian","offers":[{"title":"Vinyl","offer_id":48100941856873,"sku":"wha1790032106899","price":15.41,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/8697\/8921\/files\/bad-moon-rising_1.jpg?v=1790032110"},{"product_id":"first-recordings","title":"First Recordings","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGuitarist and singer Junior Kimbrough was one of the deepest of the deep bluesmen, like his colleague R.L. Burnside he came from the hill country of Mississippi. Stark music with deep primal rhythms and drones, his music is very powerful and hypnotic. Kimbrough ran a juke joint that was the focal point of the local blues scene and was prominently featured in Robert Palmer’s documentary Deep Blues and in the founding of the influential Fat Possum record label. This is a short EP featuring the earliest tracks he recorded for the label. Some of the standard Kimbrough tunes that he would play for the rest of his career are here like the very potent “Done Got Old” which is an unflinching look at age over a primal beat and slashing guitar. “Meet Me In the City” is emotional and stark in nature, but at the same time quite beautiful. 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You might know Taylor from previous solo albums or bands but most likely from Conor Oberst and the Mystic Valley Band. He was the guitar player who also wrote and sang Snake Hill and Air Mattress on the album “Outer South”. If you’ve seen Maria Taylor play then you have most likely seen Kate in her band either playing keys, drums, or bass, and most importantly, harmonizing the soft beautiful back ground melodies. Nowadays, Kate and Taylor have joined hand in hand and formed a band.\u003c\/p\u003e\n\u003cp\u003eLadies and Gentlemen, “Dead Fingers”, might just be what you’ve been waiting for! In a time when guy-girl duo’s are becoming quite popular, this one is not just some gimmick, however perfect the timing and package may be. You would almost think Kate was married to her manager, or record label exec., who was having them act like they were romantic just to sell tickets and albums. But in fact, this Alabama duo are recently married and the two just recorded their first self titled full length with Bruce Watson (RL Burnside, Junior Kimbrough), and is being released on Big Legal Mess\/ Fat Possum Records early 2012.\u003c\/p\u003e\n\u003cp\u003eWhile showing a wide range of styles, ranging from duet styled songs like those of John Prine and Iris DeMent, X, or Lee Hazelwood and Ann Margaret, to straight up great classic rock bands like the Stones, Beatles, or even Traveling Wilburys, this band should find a nice home with fans of more current duo’s like She and Him, Jenny and Johnny, or Civil Wars.\u003c\/p\u003e","brand":"Dead Fingers","offers":[{"title":"Compact Disc","offer_id":48100945887337,"sku":"kwz1790032277988","price":8.06,"currency_code":"USD","in_stock":true},{"title":"Vinyl","offer_id":48100945920105,"sku":"ops1790032277989","price":17.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/8697\/8921\/files\/dead-fingers_1.jpg?v=1790032282"},{"product_id":"drunk-moon-falling","title":"Drunk Moon Falling","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMize left home when he was in the ninth grade. 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While he was known to have played local dances and juke joints in the hill country of North Mississippi during the 1940's and 50's, competing with the likes of Fred McDowell, no known recordings of Ranie were made until the 70's and early 80's while he was living in Senatobia. During that time he recorded two sides for a regional 45 single and was later recorded by Leo Bruin, both in Senatobia and during a trip Ranie made to the Netherlands. Some of those recordings appear on the Swingmaster CD Going Down South, along with tracks by harmonica player Johnny Woods and R.L. Burnside, whom Ranie mentored and often played with. Burnette's music, like the aforementioned artists, is strongly rooted in the rhythmic tradition of the fife and drum bands from the region, which you'll hear on this 11-song collection, also recorded by Leo Bruin. 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Arkansas native Jim Mize’s new breakthrough album, simply called Jim Mize, stakes his claim among them.\u003c\/p\u003e\n\u003cp\u003eAs its nine songs reveal, Mize is a primal rock ’n’ roll visionary who colors his music with hues borrowed from blues and garage psychedelia, and writes with a stark brevity that punctuates every heartbeat of the characters who draw the attention of his pen: car parkers and bar tenders, boozehounds and love-drunk couples, the longing and the satisfied, the faithful and the lost.\u003c\/p\u003e\n\u003cp\u003eSongs like “Drunk Moon Falling,” culled from an overheard conversation at an Austin restaurant, and the gorgeously textured “Eminence, Kentucky” reflect the same dirt-road view of life limned with traces of the surreal that permeate the writings of such masterful Southern novelists as Larry Brown and Barry Hannah, both of whom hail from Oxford, Mississippi. Coincidentally that’s also the home of Mize’s label Big Legal Mess, a subsidiary of Fat Possum Records.\u003c\/p\u003e\n\u003cp\u003eMize has spent most of his 57 years wandering among such characters. As an insurance adjuster traveling the South and West for more than 30 years, he’s seen people at their most resilient and at their most vulnerable.\u003c\/p\u003e\n\u003cp\u003e“I’ve been through nine hurricanes and I don’t know how many tornadoes, and seen way too many car wrecks where people got killed,” Mize says in his big, bawling voice. “I saw two guys carrying a rolled up carpet with a pair of legs sticking out of it after Hurricane Andrew in Florida … and all kinds of people pushed to their limit. That’s connected to the songs I write. I always keep my antennae up. All of my tunes boil down to one thing, and that’s observations.”\u003c\/p\u003e\n\u003cp\u003eListening to Jim Mize, it’s easy to observe that despite all of the harsh reality Mize has experienced, he’s still an incurable romantic. “Rabbit Hole,” which kick-starts the album with Mize’s hypnotic, staccato guitar, is about falling helplessly into the vortex of love. And “This Moment With You” captures the ignition point of blissful, all-consuming infatuation. The emotional flip side is the bare-knuckled “Bleed,” in which a couple slices each other’s hearts with intractably venomous words.\u003c\/p\u003e\n\u003cp\u003e“I enjoy love songs the most, whether they’re happy or sad,” Mize muses. “With love, you can never run out of things to write about. But the most important thing is, my songs have to be honest. When I’m out there playing I believe every damn word that I’m singing.”\u003c\/p\u003e\n\u003cp\u003eMize is joined by two fellow maverick Southern songwriter-guitarists on his third album: dusty blues modernist Jimbo Mathus (formerly of Squirrel Nut Zippers) and burgeoning American root-pop alchemist from Memphis John Paul Keith, who take turns as instrumental foil to Mize’s raw-but-inventive riffing and expressionistic solos — a style he developed playing juke joints, sock hops and dive bars around his native Conway, Arkansas, which is 30 miles, but a world away, from the concrete corridors of state capitol Little Rock.\u003c\/p\u003e\n\u003cp\u003eMize still lives in Conway, although he spent time in Germany after faking his ID to enlist in the Army at age 17. And while the dirt road he grew up on is now paved, little else has changed. Despite Conway’s bucolic college town status, in true outsider fashion Mize prefers keeping to himself. On Saturday afternoons, when his wife’s gone grocery shopping, he can be found pacing the front porch of his house, cogitating over chord changes and the other makings of new songs. “That’s my favorite time to write,” he says. “Or at night in my living room over a toddy. I love the writing process and I like to write mostly when I’m by myself, which makes sense, because I’ve never really fit in, exactly, even when I was kid. I guess you could say I was a misfit.”\u003c\/p\u003e\n\u003cp\u003eBeing a juvenile loner sharpened Mize’s perspective as an artist. At age 12, while struggling to get a handle on guitar — “I never could copy what musicians played on records worth a damn,” he offers — Mize fell in love for the first time. He lost his heart to Glenn Campbell’s 1968 hit “Wichita Lineman,” swooning for Jimmy Webb’s sweeping, orchestral arrangement. Mize’s affection for the song may have been ripened by the fact that his father was a wire chief crew for the telephone company, but “Wichita Lineman”’s combination punch of textural sweep and artful lyrics sent his head spinning and inspired Mize to spend his alone hours writing songs.\u003c\/p\u003e\n\u003cp\u003e“From then on, I understood how powerful words could be in creating pictures and I understood that the notes on the guitar weren’t as important as the sounds it could make,” Mize attest. “Today I base my songs on the chords and riffs I come up with, but what I really do is think sonically.” That explains Mize’s arresting use of open tunings and slide guitar textures, as well as the adventurous route of his solos in numbers like “Eye to Eye,” where Mize’s guitar see-saws between two notes, dancing like the seductive Gypsy described in the song before exploding into a series of growling partial chords.\u003c\/p\u003e\n\u003cp\u003eMize didn’t enter a recording studio until his late 30s, instead channeling his creative energy into stockpiling songs and occasional live performances. Initially both reflected his passion for the classic country music he heard on the radio and on TV, as well as the blues that seemingly crept out of the soil in Arkansas and Mississippi. As time passed, rock also slinked into his musical vocabulary and fellow eccentrics like Tom Waits and Junior Kimbrough took their place alongside Johnny Cash, Howlin’ Wolf and Merle Haggard among Mize’s influences.\u003c\/p\u003e\n\u003cp\u003eMize says his “big break” came in 1994, when he was cutting some demos at Fat Possum’s studio in Water Valley, Mississippi with label co-owner Bruce Watson, who has since produced all of Mize’s recordings. “Cary Hudson and Laurie Stirrat from the band Blue Mountain were there, and when they heard my song ‘Let’s Go Runnin’ they decided to record it,” he recounts. 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A blistering guitarist and singer, and the kind of songwriter who makes great melodies and incredible lyrics sound effortless, he certainly seems like a sure thing—the kind of artist you just need to hit play and record on and let rip. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe story continues in 2011 with The Man That Time Forgot, Keith’s sophomore album for Big Legal Mess Records. Part of the legendary Fat Possum family that championed and gave a home to such artists as R.L. Burnside and Junior Kimbrough, Big Legal Mess is proudly preparing The Man That Time Forgot for a June release. The album, which was produced by Fat Possum veteran Bruce Watson, captures the spirit and energy of the One Four Fives’ live shows, but explores a wider range of themes and influences – echoes of Tex-Mex, garage rock, countripolitan, mid-60’s soul\/pop, blistering rockabilly, and even Mose Allison’s brand of jazz-blues. 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