At her peak in New York City in 1927, including celebrated sides like Back Water Blues, Nobody Knows You When You’re Down And Out, and After You’ve Gone.
One of the very greatest blues guitarists of all time. These sides are from the Paramount Studios in Chicago, May 1928, featuring singer Bertha Henderson (also Daniel Brown and Elzadie Robinson).
Lovely recordings from the Gennett Studios in Indiana, several with accompaniments by the great, great barrelhouse pianist Charlie Spand, from Detroit. With all-time classics like Hastings Street.
Okehs (as Georgia Bill), Victors (Hot Shot Willie) and Vocalions (Blind Willie) — with another amazing Georgia blues guitarist, Curley Weaver, and two fine Atlanta singers, Ruth Willis and Ruby Glaze.
Recorded for Vocalion (in New York City) and Decca (in Chicago) these tracks from the mid-thirties mark the height of McTell’s recording career. That’s his wife Kate singing on Ain’t It Grand To Be A Christian.
The Tennessean’s distinctive, emotional songs, 1929-37, often in small group settings, with piano, second guitar, Yank Rachel’s mandolin. Stuff here done over by The Kinks, Dylan, Led Zep, Muddy Waters.
The seminal Memphis bluesmen Frank Stokes and Dan Sane, recording for Paramount in the late 1920s.
Great, under-recorded Mississippi bluesman, a mate of Tommy Johnson, recording for Victor in 1928-9, with Charlie McCoy on second guitar.
The Memphis bluesman’s finest recordings, from the late 1920s.
Compelling stories in song, like John Henry and Casey Jones.
The father of Memphis blues, who got his start playing on its streets at the turn of the nineteenth century. This is real old-time country, blues, folk and pop, recorded in the 1920s and 30s.
The essential, wildly original ragtime-style finger-picking of the Floridian blues god.
‘Oh, Lordy, women and grown men drown / Oh, women and children sinkin’ down, Lord, have mercy / I couldn’t see nobody’s home and wasn’t no one to be found.’