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<title>Top Early American Blues Artists on Rhapsody Online</title>
<dateCreated>Thu Dec 31 00:11:56 PST 2009</dateCreated>
<dateModified>Thu Dec 31 00:11:56 PST 2009</dateModified>
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<outline type="include" text="Robert Johnson" description="The story of Robert Johnson meeting the devil at the crossroads has been told so many times that we are all in danger of becoming honorary Ralph Macchios. Luckily, this legend is backed up with incredible music. The truth is that Johnson became the undisputed master of Delta Blues so quickly after taking up the guitar that fellow musicians joked that ol' Scratch must have had something to do with it. Johnson was a deeply troubled man who poured his mental anguish into intoxicating music and vivid lyrics. His style, songs, tortured life and murder at the hands of a jealous woman have made him an American icon. Robert Johnson only recorded a handful of songs but has left a vast musical legacy.
- Jon Pruett" category="Acoustic Blues" url="http://feeds.rhapsody.com/robert-johnson-2/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Bessie Smith" description="" category="Classic Female Blues" url="http://feeds.rhapsody.com/bessie-smith/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Son House" description="" category="Delta Blues" url="http://feeds.rhapsody.com/son-house/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Big Bill Broonzy" description="Chicago Blues artist Big Bill Broonzy, died in 1958, unfortunately missing the 1960s blues renaissance, which surely would have proved very lucrative. Broonzy was one of a wave of artists who migrated to Chicago from the deep South in the '20s and bridged the gap between Country and Urban Blues. His warm vocal style could soar and shout, or be smooth and controlled. Broonzy was a well rounded guitar player equally adept at propulsive Country Blues and swinging single note lines for small jazz combos. He recorded prolifically, hundreds of sides -- as a sideman and as a solo artist. Ironically, as time went on, Broonzy played a less sophisticated, more rural style of blues, which reflected the tastes of white, folk music fans. He was one of the first blues artists to tour Europe and consequently had an enormous influence on the first wave of English Bluesmen like Alexis Korner -- and by proxy, Eric Clapton and The Rolling Stones.
- Tom Heyman" category="Early American Blues" url="http://feeds.rhapsody.com/big-bill-broonzy/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Blind Lemon Jefferson" description="One of the most famous masters of the blues, Blind Lemon Jefferson recorded a number of highly revered race records (78s) in the Charleston-soaked 1920s. Jefferson's Texas Blues songs were touched by his two octave vocal range and guitar playing that accompanied his crooning melodies like a third harmonic voice. He poured his hard times and fast living into his playing and songs. His recorded music was popular coast-to-coast (no small feat in the Â20s), and contributed to the awareness of racial equality. His well thought-out arrangements and random, sporadic, improvised guitar solos have influenced most every blues musician.
- Eric Shea" category="Acoustic Blues" url="http://feeds.rhapsody.com/blind-lemon-jefferson/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Reverend Gary Davis" description="A figure as legendary for his influence on other musicians as for his musical output, Davis first became known as a guitar virtuoso in the 1920s, when he played frequently on the streets. Renowned for his sophisticated guitar technique and his synthesis of folk, blues, and jazz, he also possessed a deep, powerful voice that was gruff yet melodious. Religion played an important role in the life of this blind musician, exemplified by his experiences in the Carolinas as a traveling gospel preacher. He began recording in the '40s after moving to New York City (when he was already an ordained priest) and later had a profound impact on the bohemian folk music scene of the '50s. As a mentor to many folk revival musicians, Rev. Davis transmitted his style to a new generation that revered his guitar mastery and the profound simplicity of his lyrics about troubles and redemption.
- Robert Leaver" category="Acoustic Blues" url="http://feeds.rhapsody.com/reverend-gary-davis/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Blind Willie Johnson" description="Much more than just a finalist in the &quot;Greatest Musician Named 'Blind Willie'&quot; sweepstakes, Johnson is a Gospel pioneer whose name is spoken in hushed tones by slide guitarists and early blues fans alike. Technically speaking he wasn't a blues man -- his lyrics spoke of salvation and the Bible, not booze and women, and his music avoided typical blues forms. Alternating between radiantly joyful major pentatonic melodies and equally haunting minor-key ones, he sang in a coarse, bass-dwelling croak that sometimes gave way to a more soothing mid-range tone. His performances sometimes featured a female vocalist, but were otherwise solo, and he backed himself with a mix of steady low-string fingerpicking and precise slide maneuvering. His recorded output clocks in at a mere ninety minutes or so, with all of it being waxed in the late 1920s, but what's there contains a sense of purity and humility capable of softening the most hardened cynic.
- Will York" category="Acoustic Blues" url="http://feeds.rhapsody.com/blind-willie-johnson/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Charley Patton" description="Charley Patton is probably the most important and influential Delta Blues singer and guitarist next to Robert Johnson. His songs have an eerie power that derives from his rich, resonant vocals and a percussive acoustic guitar which he played both with and without a slide. He recorded prolifically in the 1920s and '30s, influencing a generation of Mississippi bluesmen -- including Robert Johnson. Like many singers from the Delta, his lyrics are very region-specific. Combined with a thick Mississippi accent, this makes some of his lyrics a bit hard to understand. He died young in 1934.
- Tom Heyman" category="Delta Blues" url="http://feeds.rhapsody.com/charley-patton/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Tampa Red" description="A singer and guitarist of enormous influence, Tampa Red's thirty-year recording career yielded hundreds of recordings. Primarily known as a blues guitarist, Red played hokum, Swing, Ragtime, pop, jazz and just about anything else that was popular from the 1920s to the '50s. He was a slide guitarist with an uncommonly precise and linear touch whose playing couldn't have been further removed from the slashing Delta styles of people like Charlie Patton or Bukka White. His articulated phrasing and singing, melodic lines are closer to that of a horn player than any guitar player performing at the time. He is probably most famous for his work with pianist Georgia Tom Dorsey. In the 1930s the two cut a number of sides of outrageously risquÃ© songs, many of which have become cult classics.
- Tom Heyman" category="Chicago Blues" url="http://feeds.rhapsody.com/tampa-red/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Blind Willie McTell" description="Although Blind Willie McTell went by a handful of other aliases, his singing and prodigious guitar playing are unmistakable staples of the blues. From the 1920s to the late 1950s, his songs offered excellent insight into the man who invented his own style of guitar playing. McTell could read music as well as write it in Braille, and from listening to his songs, it's evident his twelve-string improvisations were not only brilliant, but revolutionary. In the studio, McTell almost always played the twelve-string acoustic guitar. Unlike many of his contemporaries who utilized resonators and dobros, McTell leaned on his instrument's ability to sound like two guitars by picking and sliding all over the neck. His early recordings were hypnotic narratives full of exquisite guitar lines and extraordinary vocal performances that set a powerful and moody backdrop for his stories. The man's style effortlessly traversed from knee-slapping Ragtime to more dissonant and spacious Acoustic Blues. McTell died in 1959 of a brain hemorrhage.
- Eric Shea" category="Country Blues" url="http://feeds.rhapsody.com/blind-willie-mctell/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Lonnie Johnson" description="Lonnie Johnson is probably one of the most important links between the birth of blues music as a regional idiomatic art form and American popular music from jazz to rock. As a guitarist, he was a hugely influential presence, shaping the playing of innovators from Charlie Christian to B.B. King, and by extension, Chuck Berry and countless rockers. He was a dazzling single string player, bringing the guitar from a primarily rhythm instrument to prominence as a lead instrument. He was a ubiquitous presence on jazz sessions in the 1920s playing on records with Duke Ellington and Louis Armstrong. An excellent singer, his smooth uptown sound could be seen as an influence on R&amp;B balladeers like Charles Brown and Nat Cole. Johnson was also able to adapt when the folk blues revival of the '60s came along playing expertly in that style.
- Tom Heyman" category="Early American Blues" url="http://feeds.rhapsody.com/lonnie-johnson/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="James Carter and the Prisoners" description="" category="Delta Blues" url="http://feeds.rhapsody.com/james-carter-and-the-prisoners/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Lucille Bogan" description="" category="Classic Female Blues" url="http://feeds.rhapsody.com/lucille-bogan/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Big Joe Williams" description="Big Joe Williams had a reputation for throwing punches like they were going out of style.. Apparently, the man liked to fight. Good thing he liked to play the blues more than the brawls, because legend has it that Williams and Charlie Musselwhite were responsible for birthing the Chicago Blues revival in the 1960's. He played mostly Delta Blues inspired stylings on an open G-tuned, nine-string guitar that he beat the life out of. Williams was one of those skilled and innovative players who knocked on the body of his guitar while playing like it was a percussive piece. He would also nail pieces of tin to his amplifiers to create a sort of natural fuzz-box sound by letting the metal rattle over the natural dirty tones that would come from his amp.
- Eric Shea" category="Delta Blues" url="http://feeds.rhapsody.com/big-joe-williams/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Alberta Hunter" description="Alberta Hunger was a vocalist of Early Blues who got her start singing in Chicago night clubs in 1912. Her singing was often done Cabaret style, be she could also inflect in tones similar to a brass horn. She penned &quot;Down Hearted Blues&quot; in 1921, which became the first hit ever for Bessie Smith. After making various records in the 1920s (with Louis Armstrong standing in on some of the sessions) she seldom recorded again, diverting her energy toward being a nurse. Yet once she turned 82 (in 1977) Hunter began singing jazz in New York's Cookery until 1984. In addition, she wrote the score for Alan Rudolph's 1978 film &lt;i&gt;Remember My Name&lt;/i&gt;.
- Eric Shea" category="Classic Female Blues" url="http://feeds.rhapsody.com/alberta-hunter/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Tommy Johnson" description="" category="Delta Blues" url="http://feeds.rhapsody.com/tommy-johnson/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Blind Blake" description="" category="Country Blues" url="http://feeds.rhapsody.com/blind-blake/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Memphis Jug Band" description="With a revolving lineup of singers and musicians, Memphis Jug Band performed old-timey hokum/Dixie-styled classics in the Delta regions from the pre-war era until the 1960s. Incorporating a variety of string and wind instruments (including kazoos!), the band's music takes a whimsical, circus-like feel. The amazing thing about these songs is the light-hearted approach to such subjects as cocaine addiction and mental illness. These blues may appeal more to fans of Michigan J. Frog than Howlin' Wolf, but with their influence easily detected in the work of countless post-war Memphis bluesmen, Memphis Jug Band's place in history cannot be disputed.
- Mike McGuirk" category="Early American Blues" url="http://feeds.rhapsody.com/memphis-jug-band/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Furry Lewis" description="Furry Lewis' recordings stand as an important link from the traditional early blues and Ragtime of the late 19th century to the music of the following century. Though mostly overlooked until the 1960s, Lewis recorded amazing songs in the '20s that still stand the test of time, and he picked up his guitar to make more when he gained appreciation years after he began. He was a great Memphis storyteller, singing tales with earthy moans and the hint of a lisp. His guitar playing was top-notch, mixing slide guitar with altered tunings and fingers that seemed to have minds of their own. Lewis' playing is intricate and ever-changing; he never played a song the same way twice. Altering the steady bass and treble lines of his deft fingerpicking (and even the lyrics to original and traditional songs), Lewis brought it all together in loosely set structures. His versions of &quot;Kassie Jones&quot; and &quot;John Henry&quot; are some of the best blues recordings in history.
- Jessy Terry" category="Memphis Blues" url="http://feeds.rhapsody.com/furry-lewis/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Mamie Smith" description="" category="Classic Female Blues" url="http://feeds.rhapsody.com/mamie-smith/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Victoria Spivey" description="Blues singer Victoria Spivey began her career in Texas playing to tough crowds in nightclubs and bordellos around the state. Accompanying herself on piano and organ, she sang musically sophisticated songs that contained blunt, often sexually suggestive lyrics in the style of Bessie Smith and Alberta Hunter. She recorded for most of the major blues record companies throughout the 1930s, but had all but left the business by the '50s. Spivey benefited from the blues revival of the '60s, and she started her own record label in the wake of re-kindled interest in the genre. She recorded and performed until her death in 1976.
- Tom Heyman" category="Early American Blues" url="http://feeds.rhapsody.com/victoria-spivey/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Mississippi Sheiks" description="This influential duo consisted of Walter Vincson on acoustic guitar and vocals and Lonnie Chatmon on fiddle and vocals. The Sheiks played a type of blues that incorporated elements of country, vaudeville, Ragtime and jazz, and they performed and recorded prolifically in the South throughout the 1930s. Chatmon came from a musical family -- his brothers Bo and Sam, both recording artists in their own right, sometimes joined the Sheiks. The duo's most famous song, &quot;Sitting On Top of the World&quot;, has been covered by Cream and Howlin' Wolf among others.
- Tom Heyman" category="Country Blues" url="http://feeds.rhapsody.com/mississippi-sheiks/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Robert Wilkins" description="Robert Wilkins was first recorded in the 1920s playing steady-rollin' Country Blues that showcased his marvelous ability as a picker. With a wandering open-tuning style, Wilkins' music has that loosely structured feel that evokes images of dirt roads and passing freight trains. One of his songs, &quot;That's No Way To Get Along,&quot; was lifted by the Stones as the basis for &quot;Prodigal Son.&quot;
- Mike McGuirk" category="Country Blues" url="http://feeds.rhapsody.com/robert-wilkins/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Sister O.M. Terrell" description="" category="Early American Blues" url="http://feeds.rhapsody.com/sister-om-terrell/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="McKinley Morganfield" description="Much of the earthy, acoustic blues recorded between 1934 and 1941 by Alan Lomax for the Library of Congress was important in that it preserved the music of artists who were not to be heard on tape again -- not true with McKinley Morganfield. The rich, acoustic slide guitar and deep, powerful vocals were becoming legendary across the Delta, a fact that Lomax quickly recognized. The song recorded was &quot;I Be's Troubled,&quot; a haunting, soulful number with amazing guitar playing reflecting the influence of Son House and the sound of Robert Johnson. The tune was to become a hit when Morganfield later changed its title and re-recorded it as &quot;I Can't Be Satisfied,&quot; more importantly changing his own name to Muddy Waters.
- Jessy Terry" category="Field Recordings" url="http://feeds.rhapsody.com/mckinley-morganfield/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Charley Jordan" description="" category="Early American Blues" url="http://feeds.rhapsody.com/charley-jordan/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Ma Rainey" description="Ma Rainey was singing the blues long before the phonograph was invented. By the time her voice was recorded, she had already taught her art to a legion of acolytes, including the &quot;Empress of the Blues&quot; herself, Bessie Smith. Though she recorded with such early twentieth century rising talents as Louis Armstrong and Fletcher Henderson, Ma Rainey's popularity began to wane in the early '30s, forcing her to retire in 1933. She is considered an enormous figure in the development of the blues, R&amp;B and rock 'n' roll.
- Nick Dedina" category="Classic Female Blues" url="http://feeds.rhapsody.com/ma-rainey/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Jesse Fuller" description="Jesse Fuller was San Francisco's most famous one-man band, playing a variety of homemade instruments off various parts of his body while singing and strumming guitar chords. His music was a mild version of Country Blues filtered through the innovation and imagination of his self-accompaniment, and his voice had a warm, soothing, textured tone that was later compared to Cat Stevens. Fuller's major hit, &quot;San Francisco Bay Blues,&quot; was covered by Janis Joplin, and his &quot;Beat it on Down the Line&quot; was often performed by the Grateful Dead.
- Eric Shea" category="Country Blues" url="http://feeds.rhapsody.com/jesse-fuller/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Crown Prince Waterford" description="" category="Jump Blues" url="http://feeds.rhapsody.com/crown-prince-waterford/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Cannon's Jug Stompers" description="" category="Country Blues" url="http://feeds.rhapsody.com/cannons-jug-stompers/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Barbecue Bob" description="Born Robert Hicks in Georgia in 1902, Barbecue Bob was one of the reigning stars of what were called &quot;race records&quot; in the late '20s. He sang his blues songs in a clear and articulate tenor devoid of the heavier accent of Mississippi singers, and his singing was most often paired with rhythmically hard-driving acoustic 12-string guitar playing. He died of pneumonia at the age of twenty-nine, missing the folk/blues revival of the '60s from which so many of his contemporaries benefitted.
- Tom Heyman" category="Country Blues" url="http://feeds.rhapsody.com/barbecue-bob/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Dixieland Jug Blowers" description="" category="Early American Blues" url="http://feeds.rhapsody.com/dixieland-jug-blowers/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Walter Roland" description="" category="Blues" url="http://feeds.rhapsody.com/walter-roland/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Henry Thomas" description="Itinerant singer/guitarist Thomas' music works on a level that bridges the gap between blues and whatever came before the blues. Recording in the 1920s and '30s, his music is like dance music from some forgotten time. He backs himself on guitar with a propulsive, hybrid picking/strumming style, singing in a high and very spirited tenor voice. The available recordings feature a lot of unavoidable surface noise, but the spirit and intent are right there.
- Tom Heyman" category="Early American Blues" url="http://feeds.rhapsody.com/henry-thomas/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Weaver &amp; Beasley" description="" category="Early American Blues" url="http://feeds.rhapsody.com/weaver-beasley/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Luke Jordan" description="" category="Early American Blues" url="http://feeds.rhapsody.com/luke-jordan/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Bessie Tucker" description="" category="Classic Female Blues" url="http://feeds.rhapsody.com/bessie-tucker/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Dock Reed, Henry Reed And Vera Hall" description="" category="Early American Blues" url="http://feeds.rhapsody.com/dock-reed-henry-reed-and-vera-hall/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Blind Roosevelt Graves" description="" category="Delta Blues" url="http://feeds.rhapsody.com/blind-roosevelt-graves/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Nashville Washboard Band" description="" category="Early American Blues" url="http://feeds.rhapsody.com/nashville-washboard-band/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Tom Dickson" description="" category="Early American Blues" url="http://feeds.rhapsody.com/tom-dickson/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="John &quot;Thunder&quot; Byrd" description="" category="Early American Blues" url="http://feeds.rhapsody.com/john-thunder-byrd/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Jimjam" description="" category="Early American Blues" url="http://feeds.rhapsody.com/jimjam/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Gitfiddle Jim" description="" category="Early American Blues" url="http://feeds.rhapsody.com/gitfiddle-jim/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Alec Johnson" description="" category="Early American Blues" url="http://feeds.rhapsody.com/alec-johnson/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Birmingham Jug Band" description="" category="Early American Blues" url="http://feeds.rhapsody.com/birmingham-jug-band/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Ida Cox" description="" category="Classic Female Blues" url="http://feeds.rhapsody.com/ida-cox/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Frank Stokes" description="An early American street artist, Stokes had success at the turn of the twentieth century performing both solo and with his partner Dan Sain in the Beale Street Sheiks. With songs that ranged from sweetly picked blues to comic, traditional songs of the nineteenth century, he attracted black and white audiences alike.
- Jessy Terry" category="Vaudeville Blues" url="http://feeds.rhapsody.com/frank-stokes/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Gus Cannon" description="As a child, jug band blues progenitor Gus Cannon made his first guitar out of a frying pan and a raccoon skin. By the time he led his own band in the 1920s (Cannon's Jug Band Stompers), he was also playing the banjo, piano and fiddle, with the banjo eventually becoming his instrument of choice. In 1963 folk revivalists the Rooftop Singers scored a No. 1 hit with Cannon's &quot;Walk Right In,&quot; and Stax Records quickly unearthed the long-dormant bluesman and recorded a set of his songs. The resultant record was limited to only 500 copies, a fact that explains Cannon's obscurity to this day. He played a form of blues that sounded old-timey -- a sort of country ragtime music -- with the banjo as the main instrument.
- Mike McGuirk" category="Early American Blues" url="http://feeds.rhapsody.com/gus-cannon/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
<outline type="include" text="Curley Weaver" description="" category="Country Blues" url="http://feeds.rhapsody.com/curley-weaver/data.opml?rws=%2Fblues%2Fearly-american-blues%2Fartist-chart.opml" />
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