Bobby Rush

Jackson’s own Bobby Rush is known as the “King of the Chitlin’ Circuit,” a tribute to his over half-century performing on the historic network of African American music venues. In the post-disco era he became a leading figure in soul blues, alongside fellow veteran artists like Johnnie Taylor, Little Milton, Denise LaSalle, Bobby “Blue” Bland, and Tyrone Davis. Having earlier scored national hits on the soul and R&B market, they were all able to retain popularity with largely southern audiences, often via recordings issued by Jackson’s Malaco Records. Rush has outlived most of his peers, and in recent decades has “crossed over” to broader audiences without changing his energetic, highly entertaining, and often risqué stage show. A singular personality whose legendary career stretches from Black vaudeville to funk, soul, and Hollywood movies, Rush has assumed the role once held by B.B. King as the foremost living diplomat for Mississippi blues.

Rush was born in the mid-1930s as Emmett Ellis, Jr., in Homer, Louisiana, located in the north of the state, and at 11 moved with his family to Pine Bluff, Arkansas. He later adopted his stage name out of respect to his father, Emmit Sr., a preacher. Rush recalls beginning to play on a handmade one-stringed “diddley bow,” and donning a fake mustache began playing at Deep South juke joints and clubs with artists including Elmore James. In the 1950s he relocated to Chicago, where he performed with Earl Hooker, Luther Allison, and Freddie King. A talented bassist, guitarist, and harmonica player, he is known for developing an exciting stage show replete with costume changes, female dancers, and an acrobatic and comedic performance style.

Rush’s distinctive “folk funk” approach was first captured on record in the 1960s via Chicago labels including Checker, and he would also record singles for Jewel, ABC, Warner Brothers, Philadelphia International, and Galaxy, which released his first national hit, “Chicken Heads,” in 1971. In the early ’80s Rush moved to Jackson to be closer to his largely southern fan base, further cementing his preeminent position among Black soul blues audiences through hits including “Sue,” “What’s Good For the Goose (Is Good For the Gander Too),” “Hen Pecked,” “I Ain’t Studdin’ You,” “Hoochie Man,” and “A Man Can Give It (But He Can’t Take It).” His songwriting is notable in often marrying contemporary sounds with lyrical themes that draw from African American folklore.

In the 1990s, Rush began to increasingly “cross over” to White audiences, although he always emphasizes that he hasn’t “crossed out” and remains dedicated to his core fan base. His dynamic stage show was a highlight of the 2003 documentary The Road To Memphis, produced by Martin Scorsese. He has received over a dozen Blues Music Awards, was inducted into the Blues Hall of Fame, and has received seven Grammy nominations, with three wins. His media appearances include performing as himself (from the early ’70s!) in the 2019 Rudy Ray Moore biopic Dolemite is My Name, and in 2021 his critically acclaimed memoir I Ain’t Studdin’ You: My American Blues Story was issued. Rush continues to tour widely around the world, performing both with his band and in a solo setting that mixes music and storytelling. He has been honored in his adopted state with a Mississippi Blues Trail marker and a Governor’s Award for Excellence in the Arts.