The Mississippi Sheiks:  1926 - 1935

As far as early 20^th century string bands go The Mississippi Sheiks were at the top of the heap. A familial band, the Sheiks were historically important as one of the earliest pioneers of fiddling blues.  They mixed traditions of country waltzes, rags, folk ballads and down home blues, creating some of the catchiest and most rewarding songs of the period. Their original compositions have a timeless quality, some of which have been covered by several generations of blues artists. Like some exhilarating port hole to the past, the music of the Mississippi Sheiks echoes portentously through voice, fiddle, and guitars.

The history of the Sheiks is spotty at best. Formed in Jackson, Mississippi, on the fringes of the Delta, their name was based on the 1921 Rudolph Valentino film, The Sheik. Though they were also known to record as the Mississippi Mud Steppers and the Blacksnakes, depending on the demands of record labels. The members were related to the Mississippi Delta Chatmon family, the core comprised of brothers Lonnie Chatmon (fiddle) and Sam Chatmon (guitar), and cousin Walter Vincson on rhythm guitar and lead vocals. Bo Carter (Armenter Chatmon) also contributed from time to time, as did a few musician cronies. Their music stemmed from string band traditions and country blues with a “good time” feel throughout.

The Sheiks began recording in about 1930 for various “Race” record labels of the day and by 1935 had recorded around eighty sides, many of them composed by the members themselves. Songs like “Stop and Listen Blues,” and “Sittin on Top of the World” were major hits for their time. “Sittin on Top of the World,” has had notable longevity, having been covered  by everyone from Howlin Wolf to Frank Sinatra. Their impressive catalogue also included endearing pieces like “Honey Babe Let the Deal Go Down,” “I’ve Got Blood in My Eyes For You,” (ominously covered by Bob Dylan on his World Gone Wrong album) and the classic “Bootlegger Blues.”

Their musical prowess was made up of Walter Vinson’s mournful big-toned vocals perfectly complimented by Lonnie Chatmon’s wailing fiddle, weaving melodically in behind. Either Vincson or the other two Chatmon brothers filled out the sound with brisk finger picked guitar lines and rhythmic strumming. Their joyous and soulful interplay was popular with both black and white audiences.

The Sheiks toured in various configurations throughout the South and were known to entertain as far north as Chicago and New York. They were good enough live, so the story goes, that a teenage Muddy Waters walked all day, ten miles just to hear them play. By their last recording session in 1935 their popularity was already dwindling and soon after the members faded back into the rural fabric of the South. Walter Vincson returned to record under the old name in the 1960s and 70s, but without much of the old sound or success. By Tim Kirker

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