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Fat Possum Records is an American independent record label based in Water Valley and Oxford, Mississippi. At first Fat Possum focused almost entirely on recording previously unknown Mississippi blues artists (typically from Oxford or Holly Springs, Mississippi). Recently, Fat Possum has signed younger rock acts to its roster. The label has been featured in ''The New York Times'', ''New Yorker'',〔McInerney, Jay. "White Man at the Door: One Man's Mission to Record the 'Dirty Blues' - before Everyone Dies." ''The New Yorker'' (February 4, 2002): page 55〕 ''The Observer'',〔 a Sundance Channel production, a piece on NPR,〔"(Fat Possum Records evolves with the blues )". NPR, ''Weekend Edition Sunday'', December 19, 2004〕 and a 2004 documentary, ''You See Me Laughin''.〔''You See Me Laughin': The Last of the Hill Country Bluesmen'' (2003). Produced and directed by Mandy Stein.〕 ==History== Fat Possum was founded in 1991 by two ''Living Blues'' magazine staff, Peter Redvers-Lee and Matthew Johnson. Lee was born July 2, 1960, in Estcourt, South Africa. He came to University of Mississippi for his MA studies in Journalism, and became editor of ''Living Blues'' in 1987. He planned on starting a record label and picked the name with another student, Billy 'pup' Cochrane. Johnson, who grew up in the state, was too a writer in ''Living Blues'' and a student at the University of Mississippi.〔 By 1994 or so Lee left, and freelance recording engineer Bruce Watson assumed his managerial role. An early investor was John Hermann of Widespread Panic, who also pitched Robert Palmer's name as producer.〔 The label initially specialised in discovering blues players from the North Mississippi region, many of whom had never recorded before. At Fat Possum's behest some artists, particularly R. L. Burnside, released both standard blues albums and more techno albums, done in the style that would later be made famous by Moby's album ''Play''. This led to a fair amount of controversy among blues purists, a group in which Johnson was largely uninterested.〔The liner notes for ''Not the Same Old Blues Crap 3'' and several other blues compilations contain essays by Matthew Johnson regarding his feelings for blues archivalists. He is against them.〕 Many of the early artists for Fat Possum were picked with the aid of Palmer (previously a teacher of Johnson at the University of Mississippi), who also produced a number of records for the label. Although their releases were critically acclaimed, particularly Junior Kimbrough's album ''All Night Long'', which received 4 stars from ''Rolling Stone'' and the loud approval of Iggy Pop,〔Junior Kimbrough performed one of his few tours with Iggy Pop.〕 Fat Possum was perennially strapped for cash. Word of mouth and artist compilations, such as ''Not the Same Old Blues Crap 3'' (with a cover illustration by Joe Sacco)〔Sacco also travelled with T-Model Ford for a piece for Vanity Fair〕 and ''All Men Are Liars'', gradually pulled Fat Possum out of the red, even if only for brief periods of time. A legal fight with Capricorn Records, who were to be their distributor, drained Fat Possum's funds and left a number of projects on the shelf. Burnside proved early on to be the label's biggest money maker. Having released two albums, he teamed with The Jon Spencer Blues Explosion for a tour, and then recorded with the band ''A Ass Pocket of Whiskey'', which helped Burnside and Fat Possum gain wider recognition. A remix of the R. L. Burnside song, "It's Bad You Know", was also featured prominently on ''The Sopranos''. With time, many of the label's artists have died. Asie Payton, King Ernest, and Charles Caldwell died before their records could be released. Kimbrough died in 1998 and Burnside 2005. T-Model Ford and Robert Belfour joined in the 2010s. Responding to the first deaths, Fat Possum begun to release more archival records.〔Previously, the only non-Fat Possum recorded album released was by Scott Dunbar〕 George Mitchell's recordings came out first as individual albums of Furry Lewis, Mississippi Joe Callicott, R.L. Burnside, Townes Van Zandt, and others, with covers designed by Chip Kidd, and then in bulk as the ''George Mitchell Collection''. They acquired the Al Green catalog including his 1975 ''Greatest Hits''. The successful band The Black Keys released their second album ''Thickfreakness'' (2003) on Fat Possum, and left the label after their third album ''Rubber Factory'' (2004). Solomon Burke's "comeback" album, ''Don't Give Up On Me'', won the 2003 Grammy Award for Best Contemporary Blues Album. In 2013, Fat Possum released "Ready To Die" by Iggy and the Stooges. Concluding that further searches for rural talent are hopeless, it has begun to broaden its base of artists and sign a range of younger, indie rock bands like Andrew Bird, Milk Music, MellowHype, the Heartless Bastards, Deadboy & the Elephantmen, Wavves, Youth Lagoon, The Walkmen, Temples (band), Yuck (band), Fat White Family, The Districts, Crocodiles, and Bass Drum of Death. They have tapped into the indie-folk scene releasing Verbena's frontman A.A. Bondy's solo records, The Felice Brothers, and female songwriter Lissie. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fat Possum Records」の詳細全文を読む スポンサード リンク
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