Eddie Lee “Guitar Slim” Jones exploded onto the music scene in the 1950s, redefining electric guitar playing with an intensity and raw energy that few had witnessed before. More than just a musician, Guitar Slim was a captivating performer, known for his passionate vocals and flamboyant stage presence, forever etched in history for his iconic hit, “The Things That I Used To Do.” While details of his early life remain somewhat obscure, historical accounts point to Greenwood, Mississippi, as his birthplace on December 10, 1926. His father, Sam Jones, later resided on Race Track Plantation and found his final resting place in the Salem M. B. Church Cemetery, anchoring Guitar Slim’s roots firmly in this Delta soil.
Though Guitar Slim became a sensation in the blues world by 1954, catapulting from New Orleans with “The Things That I Used to Do,” his Mississippi Delta origins painted a different picture. In Greenwood and the surrounding areas, he was simply Eddie Jones, remembered as a choirboy who transformed into a dazzling jitterbug dancer. His early childhood in Greenwood was brief; after losing his mother, Eddie was raised by his maternal grandmother, Mollie Edwards, in Hollandale. Even before his musical prowess emerged, Jones was locally famous for his incredible dancing skills, earning him playful nicknames like “Limber Leg Eddie” and “Rubber Legs.” Following his service in World War II, Jones’s path shifted towards music when Delta blues veterans Willie D. Warren and Little Bill Wallace recruited him for performances across Arkansas and Louisiana. His talent for mimicking vocalists like Louis Jordan further broadened his appeal. Eventually venturing to New Orleans solo, Eddie Jones shed his old skin and emerged as “Guitar Slim,” a transformed artist wielding a guitar with newfound mastery. While Robert Nighthawk, whom he encountered in Hollandale, provided initial inspiration, it was the commanding style of Texas guitar virtuoso Gatemouth Brown that profoundly shaped Guitar Slim’s distinctive approach.
“The Things That I Used to Do” became a monumental rhythm & blues hit in 1954, solidifying its place as one of the top three R&B records of the entire 1950s, as recognized by Billboard magazine. Although Guitar Slim never replicated that exact level of chart-topping success, his live performances became legendary. He captivated audiences nationwide with his electrifying stage presence. Adorned in vibrant, eye-catching suits and shoes, often with his hair dyed to match or strikingly contrast his outfits, Guitar Slim was a spectacle. His performances were a dynamic blend of acrobatic dance moves and fervent guitar playing. He was known for venturing off stage and into the audience, enabled by an exceptionally long guitar cord, reportedly ranging from 50 to an astonishing 350 feet. His vocals carried the intense passion of a fiery preacher, adding another layer to his compelling persona. This larger-than-life stage persona extended into his private life, marked by a wild and unrestrained spirit. Yet, beneath the flamboyant exterior, a depth and seriousness were evident in his self-penned lyrics. As Atco Records astutely advertised in 1958, “Guitar Slim is a philosopher. His songs are exclusively concerned with the earthy truisms of life,” highlighting the insightful narratives within his music. Ultimately, his fast-paced lifestyle took its toll. Guitar Slim succumbed to pneumonia in New York City on February 7, 1959, at the young age of 32, although some accounts suggest he might have been closer to 34.
Guitar Slim’s innovative and uninhibited guitar style has resonated deeply within the music world, influencing a vast array of blues and rock guitarists. From blues icons like Buddy Guy, Chick Willis, and Lonnie Brooks to rock luminaries such as Frank Zappa, Stevie Ray Vaughan, and Billy Gibbons, his impact is undeniable. Many have even recognized him as a precursor to Jimi Hendrix, citing the shared free-spirited and fiercely expressive approach to the guitar. His enduring contribution to music was officially recognized with his induction into the Blues Hall of Fame in 2007, cementing his legacy as a true blues innovator.
content © Mississippi Blues Commission
