R.L. Boyce Bears the Torch for Hill Country Blues (INTERVIEW)

R.L. Boyce never played the blues to get famous. Working and living in North Mississippi town of Como (population 1240), Boyce always played guitar and sang the blues just because he happened to enjoy it. This is, after all, the same part of the country that produced now legendary bluesmen like R.L. Burnside, Mississippi Fred McDowell, Junior Kimbrough, and the recently departed Leo “Bud” Welch. These figures played what is known as Hill Country Blues, a style that is different from other forms of the blues in the way relies on a driving guitar and drum groove as a way to keep the tempo up and the people dancing.

At the age of 62, R.L. Boyce has spent much of his life putting his own stamp on Hill Country Blues. Getting recognized for it by audiences beyond the juke joints and porch parties around North Mississippi wasn’t always a priority, but last year that changed when Boyce released his album Roll And Tumble on Waxploitation, the venerable label best known for working with acts like Danger Mouse, Gnarls Barkley, and Broken Bells. If the album sounds like a party, that’s because it is. Boyce recorded the songs ten years ago during a party on his front lawn. He was joined by fellow Hill Country Blues torchbearers Luther Dickinson, Lightnin’ Malcolm, Andrew Turner (son of blues fife player Otha Turner), and Cedric Burnside drumming alongside his father, the late Calvin Jackson. Final touches on the collection of songs were made at the late Jim Dickinson’s Zebra Ranch Studios, which is now run by Cody and Luther Dickinson aka the North Mississippi Allstars.

The music on Roll And Tumble is a rollicking good time, with Boyce spouting off-the-cuff lyrics, setting the mood in the first few seconds of the album when he proudly sings, “If you want to boogie come on down to my house…” Over the course of ten songs, the energy never lets up as Boyce sings, jams, and keeps a loose, driving jam going full force. There are Hill Country staples like “Poor Black Mattie” and “Going Down South” alongside Boyce’s own conjured tunes like the powerful, rambling “Don’t Worry My Mind” and the rowdy party of “R.L.’s Boogie”. Like other figures in the Hill Country Blues scene, Boyce is finally getting his due late in life with the release of Roll And Tumble and a subsequent Grammy nomination.

Some artists may express anger or frustration at having to wait so long for recognition, but Boyce approaches it all with a big smile and a laid back, cheerful attitude that could only come from someone who has enjoyed many good front yard parties. If you really want to know Boyce, the best thing to do is listen to his music, however, we figured it wouldn’t hurt to pick his brain a bit for a little more insight.

What was your recording process like for this album? Do you just let the jams unfold how they do or do you have things laid out in advance?

I just let it all hang out. I just gave it what I had.

Parts of the album it sounds like there’s a party happening behind you. Was that intentional?

Well there was a party behind me. So we just put it all together.

How many people were around when you were playing?

We were outside and there were about forty people. [The album] was [recorded] live on the outside and then we finished on the inside.

Where was the party at?

We started out in Como.

What kind of bond do you have with Luther Dickinson and what’s it like working with him?

We tight as anything. When me and Luther started playing we were setting up on the front porch. Luther got started sitting on my front porch right down the road from Otha Turner on a Friday and Saturday night. Me and Luther get together and I say, ‘hey buddy let’s do something, go ahead and take it away.’ We’ve been playing ever since.

It seems like the Hill Country blues style is only played by a small handful of people now. Are there younger people preserving the legacy?

Cedric Burnside, Lightnin’ Malcolm are keeping it going.

Who do you play with when you’re just hanging around in Como?

The only [guy] I play with is Lightnin’ Malcolm.

Where do your lyrics come from? A lot of them feel off-the-cuff and in the moment.

They just come right out of my head.

How much do you pay attention to everything happening in the world, and does that have any effect on your songs?

Not really. Whatever God gives me and I give to y’all.

It’s been said that you are a protégé of Fred McDowell, Ranie Burnette and RL Burnside. Can you share some stories about learning from those musicians and any life or musical lessons they taught you?

Well, no one taught me but I was coming along when Fred McDowell was living. I used to hang around and I could hear him seven or eight miles [away] coming up the road playing on the weekend. I tried to learn a couple of his [tricks] but I had to learn my own style.

What about Jessie Mae Hemphill? Did you learn anything from her?

I was her drummer when I played with her. She was a mean lady when I played with her [laughs].

You’re nominated for a Grammy. What does that feel like?

It’s got me feeling pretty good. I didn’t see it coming.

 

Photo: William Burgess

Related Content

Leave a Reply

Your email address will not be published. Required fields are marked *

Recent Posts

New to Glide

Keep up-to-date with Glide

Twitter