Atlanta Blues


ARTISTSONGALBUM
Blind Willie McTell Savannah MamaPostwar Recordings 1949-50
Blind Willie McTell & Curley Weaver Don't Forget ItPostwar Recordings 1949-50
Curley WeaverTicket AgentPostwar Recordings 1949-50
John Lee ZieglerWho's Gonna Be Your ManThe George Mitchell Collection Vols. 1-45
Bud Grant Blues Around My BedGeorgia Blues
Cliff Scott Long Wavy Hair Georgia Blues
Billy Wright Stacked DeckBilly wright 1949-1951
Zilla Mays Nightshift BluesJumpin' The Blues Vol. 3
Danny Boy And His Blue Guitar Kokomo Me Baby45
George Henry Bussey When I'm Sober, When I'm Drunk BluesJim Bunkley & George Henry Bussey
Jim Bunkley Segregation BluesJim Bunkley & George Henry Bussey
Pinetop Slim Applejack Boogie Modern Downhome Blues Sessions Vol. 4
Robert Lee Westmoreland Good Looking Woman BluesPlay My Juke Box
Tommy Lee Russell Dupree BluesBlues Come To Chapel Hill
Roy Dunn She Cook Cornbread For Her Husband Know'd Them All
Cecil Barfield I Told You Not To Do ThatThe George Mitchell Collection Vols. 1-45
Green Paschal Trouble Brought Me DownGeorgia Blues
Bud WhiteGo Ahead OnThe George Mitchell Collection Vols. 1-45
Neal Patman Shortnin' BreadThe Art of Field Recording Vol. 2
Eddie Lee Jones And Family Yonder Go That Old Black DogYonder Go That Old Black Dog
Buddy Durham Blues All Around My HeadGoin' Back To Tifton
David Wylie You're Gonna Weep And Moan Down Home Blues Classics Vol. 6
Frank Edwards Gotta Get Together Sugar Mama
Precious Bryant You Don`t Want Me No MoreThe Roots Of It All: Acoustic Blues Vol .4
Jessie Clarence Gorman Goin' Up To The Country #1 The George Mitchell Collection Vols. 1-45
James Davis Old Country Rock #1The George Mitchell Collection Vols. 1-45
Buddy Moss AmyThe George Mitchell Collection Vols. 1-45
Willie Guy Rainey John HenryWillie Guy Rainey
Junior Tamplin Under The Viaduct (In Atlanta, GA) Let Me Tell You About The Blues: Atlanta
Piano Red Rockin' With Red The Real Dr. Feelgood
Tommy Brown Atlanta BoogieRockin' On Acorn-Regent Vol. 1
Bruce Upshaw & Willie Rockomo Tease Me Baby #2The George Mitchell Collection Vols. 1-45
Jimmy Lee Williams Have You Ever Seen PeachesHoot Your Belly
Cora Mae BryantMcTell, Moss & Weaver Born With The Blues

Show Notes:

Read Liner Notes

As a regional music center, Atlanta was as vital to the early years of recorded blues as was Memphis. Initially, it was just one location regular|y visited by mobile recording units but as the years passed it became increasingly important. Like Memphis, Atlanta was a staging post for musicians on their way to the north but it also supported a thriving musical community of its own. It's also where in 1924, OKeh technicians recorded one of the first country blues, "Time Ain't Gonna Make Me Stay"' by Ed Andrews. In 1926 Peg Leg Howell was recorded by Columbia, the following year Victor recorded Barbecue Bob and Blind Willie McTell and in 1928 Curley Weaver was recorded by Columbia. WWII put an end to recording in Atlanta for some time and it wasn't until the end of the decade that a number of country blues artists, including Blind Willie McTell, Curley Weaver, Pinetop Slim, Frank Edwards, David Wylie and Robert Lee Westmoreland, kept their tradition alive. But in the meantime, more modern blues and R&B was rising including singers Billy Wright and his pal Little Richard, as well as Tommy Brown and Piano Red among others. In the 1960's and 70's their was notable field recordings made by George Mitchell who found and recorded several fine blues artists like John Lee Ziegler, Jimmy Lee Williams and Cecil Barfield while Pete Lowry recorded Roy Dunn, Frank Edwards and others.

In the immediate post-war years there were some fine down-home Georgia blues artists recorded, most notably two of Atlanta's finest, Blind Willie McTell and Curley Weaver. McTell was born in Thomson, Georgia, near Augusta, and raised near Statesboro. He was A major figure with a local following in Atlanta from the 1920's onward, he recorded dozens of sides throughout the 1930's under a multitude of names — all the better to juggle "exclusive" relationships with many different record labels at once — including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis. Willie's recording career began in late 1927 with two sessions for Victor records, eight sides including the immortal  "Statesboro Blues."

Curley Weaver was born in Covington, Georgia,and raised on a farm near Porterdale. His mother, Savannah "Dip" Shepard Weaver, was a well-respected pianist and guitarist, who taught Curley and her friend's sons, "Barbecue Bob" and Charlie Hicks, He first recorded in 1928, for Columbia Records, and subsequently released records on several different labels.  Weaver recorded a session  for for Sittin' in With in late 1949 or early 1950 and Weaver and McTell recorded a session for  Regal in 1950. As David Evans wrote: "Weaver's Sittin' in With tracks appear to represent the core of his repertoire and show him deeply embedded in the Georgia blues tradition, with a particular debt to McTell. …Contrary to some published reports, McTell and Weaver both play guitars on all of the Regal recordings except two takes of a slow gospel song." Weaver never record again but McTell also recorded for Atlantic in 1949 and made some final sides in 1956.Curley Weaver - Ticket Agent

Other Georgia artists who record shortly into the post-war were Pinetop Slim, Frank Edwards, David Wylie and Robert Lee Westmoreland. Pinetop Slim was discovered in 1949 by Joe Bihari. He was playing and singing on a street corner in Atlanta. Georgia and Joe took him to a radio station to record.

David Wylie was born in Washington, GA. on July 1, 1926 Nothing else is known about him except the fact that he recorded for titles for Regal Records in Atlanta in the spring of 1950. Two were issued on a 78 at the time, the remaining two didn't see the light of day until 19 years later when they appeared on the Biograph LP Sugar Mama.

Frank Edwards was born in Washington, Georgia. He recorded for three record labels in his career; Okeh Records in 1941, Regal Records in 1949, and  a full-length album for Trix Records in the mid-1970's. Some more recent sessions were done for the Music Maker Relief Foundation.

Robert Lee Westmoreland left behind just two songs, "Hello Central Give Me 209" and "Good Looking Woman Blues." These sides were recorded for the Trepur label in La Grange, Georgia in 1953.

In the 1940's and 50's several Georgia singers made a name for themselves on the R&B market including Billy Wright, Little Richard, Tommy Brown, Piano Red and others. While Atlanta didn't boast any recordings studios, sessions were done in the city in makeshift studios, particularly at radio station WGST. A prime influence on Little Richard during his formative years, "Prince of the Blues" Billy Wright's shouting delivery was an Atlanta staple during the postwar years. Saxist Paul "Hucklebuck" Williams caught Wright's act when they shared a bill , recommending the teenaged singer to Savoy Records boss Herman Lubinsky. Wright's 1949 Savoy debut, "Blues for My Baby," shot up to number three on Billboard's R&B charts, and its flip, "You Satisfy," did almost as well. Two more of Wright's Savoy 78s, "Stacked Deck" and "Hey Little Girl," were also Top Ten R&B entries in 1951. Wright set his pal Little Richard up with powerful WGST DJ Zenas Sears, who scored him his first contract with RCA in 1951.

William Lee Perryman was born on a farm near Hampton, Georgia in 1911. y the early 1930s, Perryman was playing at house parties, juke joints, and barrelhouses in Georgia, Alabama, and Tennessee. In 1950, after spending the previous 14 years upholstering and playing music on weekends, Perryman recorded "Rockin' with Red" and "Red's Boogie" at the WGST radio studios in Atlanta for RCA Victor. Both songs became national hits, reaching numbers five and three respectively on the Billboard R&B charts. During the mid-1950s Perryman also worked as a disc jockey on radio stations WGST and WAOK in Atlanta, broadcasting 'The Piano Red Show' (later 'The Dr. Feelgood Show') directly from a small Goog Looking Woman Bluesshack in his back yard. Signed to Okeh Records in 1961, Perryman began using the name Dr. Feelgood and the Interns, releasing several hits, including the much-covered "Doctor Feelgood."

Born in Lumpkin, Georgia, Tommy Brown formed a small band with himself as the drummer in the 1940s, and worked in clubs around Atlanta. In 1949 he recorded "Atlanta Boogie" on the Regent label. In 1951 he moved on to Dot where he was teamed with the Griffin Brothers and  in August of that same year Brown was featured singer on the R&B Top 10 hit "Tra-La-La", credited to the Griffin Brothers Orchestra, and later in the year the combination reached #1 on the R&B chart with "Weepin' and Cryin.'" He recorded for United in 1952 and played for a while in Bill Doggett's band. Brown made a comeback in 2001, recording and performing around the world in blues festivals.

From the early 1960's to the early 1980's George Mitchell roamed all over the south recording blues in small rural communities where the music still thrived. Mitchell did record some of the famous artists of the past like Buddy Moss, Furry Lewis, Will Shade, Sleepy Johns Estes and was the first to record artists who would achieve later fame such as R.L. Burnside, Jesse Mae Hemphill, Othar Turner and Precious Bryant. What Mitchell recorded in the rural communities of Georgia, Tennessee, Alabama and Mississippi in the 1960’s was a still thriving, if largely undocumented, blues culture. Several of today's artists were  featured on the 1981 Flyright album, Georgia Blues Today. Mitchell's wrote that "the bluesmen on this album are the best I located while conducting field research for the Georgia Grassroots Music Festival from 1976 through 1979." Mitchell was one of the few who documented the Lower Chattahoochee River Valley region which has one of the richest traditions of blues music in America. The region is defined as the eighteen counties that hug the Chattahoochee River along the Georgia/Alabama border, along with three additional counties in Georgia.

Pete Lowry did not go to Mississippi, did not discover long lost bluesmen from the 1920's but in his voluminous research, writing and recording has charted his own path, becoming the most renowned expert on the blues of the Southeast and is credited with coining the term Piedmont Blues. Between 1969 and 1980 he amassed hundreds of photographs, thousands of recordings, music and interviews in his travels through Georgia, South Carolina, North Carolina and Virginia. Lowry set up the Trix Records label in 1972 starting with a series of 45's with LP's being released by 1973. It lasted about a decade as an active label dealing mainly with Piedmont blues artists from the Southeastern states with seventeen albums. Other recordings were issued on the Flyright label. Bastin. Lowry's issued recordings are just the tip of the iceberg with unreleased recordings far exceeding what was commercially released. Among the Georgia artists he recorded were Tommy Lee Russell, Frank Edwards and Roy Dun,  a fine musician and a major source of information and contacts by researchers into the blues of the east coast states.Tommy Brown - Atlanta Boogie

A few other tracks worth mentioning are by artists Eddie Lee Jones, Danny Boy And His Blue Guitar, Buddy Durham  and Cora Mae Bryant. Eddie Lee "Mustright" Jones was recorded by folklorist Bill Koon after encountering Jones playing guitar on a porch in Lexington, GA, in 1965. resulting in the Testament album, Yonder Go That Old Black Dog. Danny Boy And His Blue Guitar cut one 45 in 1958 for the Tifco label which primarily issued country records. Cora Mae Bryant was the daughter of Georgia guitar legend Curley Weaver and cut a pair of albums for Music Maker. Buddy Durham was recorded by Kip Lornell in the early 70's in Albany, New York for the album Goin' Back To Tifton but was originally from Tifton, Georgia.

 

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ARTISTSONGALBUM
Peg Leg HowellNew Prison BluesPeg Leg Howell Vol. 1 1926-1928
Peg Leg HowellFo' Day BluesPeg Leg Howell Vol. 1 1926-1928
Peg Leg HowellCoal Man Blues Peg Leg Howell Vol. 1 1926-1928
Peg Leg HowellTishamingo Blues Peg Leg Howell Vol. 1 1926-1928
Peg Leg HowellNew Jelly Roll BluesPeg Leg Howell Vol. 1 1926-1928
Peg Leg HowellBeaver Slide RagViolin, Sing The Blues For Me
Macon Ed & Tampa Joe Mean Florida BluesPeg Leg Howell Vol. 2 1928-1930
Macon Ed & Tampa Joe Worrying Blues Peg Leg Howell Vol. 2 1928-1930
Peg Leg Howell & His GangMoanin' & Groanin' BluesPeg Leg Howell Vol. 1 1926-1928
Peg Leg Howell & His GangPeg Leg StompPeg Leg Howell Vol. 1 1926-1928
Peg Leg Howell & His GangPapa Stobb BluesPeg Leg Howell Vol. 1 1926-1928
Peg Leg Howell & His GangHobo Blues Peg Leg Howell Vol. 1 1926-1928
Peg Leg Howell Skin Game Blues Before The Blues Vol. 2
Peg Leg Howell & His Gang Too Tight BluesPeg Leg Howell Vol. 1 1926-1928
Sloppy Henry Long, Tall, Disconnected Mama Peg Leg Howell Vol. 2 1928-1930
Sloppy Henry Say I Do ItPeg Leg Howell Vol. 2 1928-1930
Peg Leg HowellRock & Gravel BluesPeg Leg Howell Vol. 1 1926-1928
Peg Leg Howell & Eddie Anthony Banjo Blues Peg Leg Howell Vol. 2 1928-1930
Peg Leg Howell & Eddie Anthony Turkey Buzzard BluesPeg Leg Howell Vol. 2 1928-1930
Henry Williams & Eddie Anthony Lonesome Blues Peg Leg Howell Vol. 1 1926-1928
Henry Williams & Eddie Anthony Georgia Crawl Folks, He Sure Do Pull Some Bow!
Peg Leg HowellTurtle Dove BluesPeg Leg Howell Vol. 2 1928-1930
Peg Leg HowellWalkin' BluesPeg Leg Howell Vol. 2 1928-1930
Peg Leg HowellAway From home Hard Times Come Again No More Vol. 2
Macon Ed & Tampa JoeEverything's Coming My WayPeg Leg Howell Vol. 2 1928-1930
Macon Ed & Tampa JoeWinging That ThingPeg Leg Howell Vol. 2 1928-1930
Brothers Wright And WilliamsI've Got A Home In Beulah LandPeg Leg Howell Vol. 2 1928-1930
Sloppy HenryCaned Heat BluesMy Rough And Rowdy Ways Vol. 2
Sloppy HenryRoyal Palm Special BluesPeg Leg Howell Vol. 2 1928-1930
Peg Leg HowellBroke & Hungry Blues Peg Leg Howell Vol. 2 1928-1930
Peg Leg Howell & Jim Hill Monkey Man BluesPeg Leg Howell Vol. 2 1928-1930
Peg Leg Howell & Jim Hill Chittlin' Supper Peg Leg Howell Vol. 2 1928-1930

Show Notes:

Peg Leg Howell and His Gang
Henry Williams, Eddie Anthony, Peg Leg Howell

Like Memphis, Atlanta was a staging post for musicians on their way to all points. It’s not surprising then that the first country blues musician, Ed Andrews, was recorded there in 1924. The company that recorded him, Okeh, was one of many to send their engineers to Southern cities to record local talent. Companies like Victor, Columbia, Vocalion and Brunswick made at least yearly visits until the depression. One of the earliest recorded Atlanta bluesmen, Peg Leg Howell, bridged the gap between the era of pre-blues and the period when the blues eventually became the popular music of the day. Born Joshua Barnes Howell in Eatonton, Georgia on March 5, 1888, he was a self-taught guitarist who acquired his nickname after a 1916 run-in with an irate brother-in-law which ended in a shotgun wound to the leg and, ultimately, amputation. Unable to continue working as a farmhand, he migrated to Atlanta, where he began pursuing music full-time; in addition to playing street corners for passing change, Howell supplemented his income by bootlegging liquor, an offense which led to a one-year prison sentence in 1925. He recorded four songs at the end of 1926, eight sides in 1927 with guitarist Henry Williams and Eddie Anthony which were billed as Peg Leg Howel and his gang. Ten final sides were recorded in 1929. Tony Russell described the music as "rugged and without artifice. Howell's early recordings like 'Coal Man Blues' do no lack appeal but are rather overshadowed by his trio sides with Anthony and Williams, which give us a stringband music both less suave and more diverse than that of their near-contemporaries the Mississippi Sheiks." Howell backed singer Sloppy Henry on a few sides and his pals Eddie Anthony and Henry Williams also recorded on their own.

1927 columbia Catalog
Peg Leg Howell featured on a 1927 Columbia catalog

In 1963 three high school students – George Mitchell, Roger Brown, and Jack Boozer tracked Howell down. Mitchell coaxed him into recording again. After a month of practicing on the guitar, Howell made the field recordings that were issued by Testament Records as The Legendary Peg Leg Howell. Howell was also interviewed by Mitchell the results of which were published in Blues Unlimited (the full article is provided below) which is where the below quotes come from.

"My friends call me Peg, …Peg Leg Howell. I was born on the fifth of March. in 1888. I was born in Eatonton, Putnom. County, Georgia. …My father was a farmer. when I was a child I went to school in Putnam County; I went as far as the ninth grade before I stopped. After that I worked on my father's farm with him…plowed. Worked on the farm until 1916, when I was about 28. …I had lost my leg in 1916 and had to quit farm work. I got shot by my brother-in-law; he got mad at me and shot me. …I came to Atlanta when I was about 35 years old. …I learned how to play the guitar about 1909. I learnt myself – didn't take long to learn. I just stayed up one night and learnt myself."

He began performing music in parks and on the streets of Atlanta, sometimes working alongside mandolinist Eugene Pedin, guitarist Henry Williams, and violinist Eddie Anthony, his closest friend. “The men from Columbia Records found me there in Atlanta. A Mr. Brown – he worked for Columbia – he asked me to make a record for them. I was out serenading, playing on Decatur Street, and he heard me playing and taken me up to his office and I played there. …My first record. was "New Prison Blues" (coupled with "Fo Day Blues" on Columbia 14177D). In 1925 I had been in prison for s selling whiskey and I heard the song there. I don't know who made it up. As for selling the whiskey, I would sell it to anybody who came to the house. I bought the moonshine from people who ran it and I sold it. I don't know how they caught me; they just ran down on me one day."

Howell was back before the microphone five months after his debut this time with Henry Williams and Eddie Anthony. His “New Jelly Roll Blues” from this session was his bestselling number and advertised in the Chicago Defender newspaper (Columbia ran eight ads for Howell between 1927 and 1929). The record was listed as Peg Leg Howell and His Gang. The label promoted Peg Leg Howell by putting his photo on the cover of its 1927 catalog. In November 1927, Peg Leg Howell and His Gang recorded three more 78's. "Eddie Anthony recorded with me. He played violin. And Henry Williams; he played guitar. We called the group Peg Leg Howell and His Gang. Made quite a few records with them two."At the November 1st session “Too Tight Blues,” “Moanin’ and Groanin’ Blues,” “Hobo Blues,” and “Peg Leg Stomp” were recorded. Howell made three final Columbia 78's in April 1929. Ollie Griffin was probably the violinist. Three days later, Howell fronted four songs that came out credited to Peg Leg Howell and Jim Hill.

Peg Leg Howell - New Jelly Roll BluesDuring the spring of 1929 Eddie Anthony recorded eight sides for OKeh Records as part of a duo called Macon Ed and Tampa Joe (the identity of Tampa Joe has never been established). On April 19, 1928, Henry Williams and Eddie Anthony recorded a Columbia 78 on their own, the raucous “Georgia Crawl” backed with “Lonesome Blues.” Howell and Anthony were probably the accompanists on a four song session by Sloppy Henry recorded on August 13, 1928. Henry cut sixteen sides between 1924 and 1929 for Okeh. It's been speculated that Anthony plays on on the record "I've Got A Home In Beulah Land" by the Brothers Wright And Williams recorded in 1930.

Henry Williams perished in jail in 1930, and Peg Leg Howell was soon back serving time for bootlegging. After Eddie Anthony died in 1934, Howell told Mitchell, “I just didn’t feel like playing anymore. I went back to selling liquor. Then I ran a woodyard for about two years around 1940. I lost my other leg in 1952, through sugar diabetes.” Howell's final recordings issued on the Testament label captured him in sad shape so those songs will not be featured. Better to remember Howell and his pals in their prime.

Related Reading:

-Welding, Pete; Mitchell, George. “I’m Peg Leg Howell.” Blues Unlimited no. 10 (Mar 1964) [PDF]

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ARTISTSONGALBUM
Blind Willie McTellTicket Agent BluesThe Classic Years 1927-1940
Blind Willie McTellStatesboro BluesThe Classic Years 1927-1940
Blind Willie McTellMama, 'Taint Long Fo' DayThe Classic Years 1927-1940
Curley WeaverNo No BluesAtlanta Blues
Curley WeaverYou Was Born To DieAtlanta Blues
Curley WeaverWild Cat KittenAtlanta Blues
Curley WeaverSome Rainey DayAtlanta Blues
Blind Willie McTellLove Changing BluesThe Classic Years 1927-1940
Blind Willie McTellScarey Day BluesThe Classic Years 1927-1940
Blind Willie McTellAtlanta StrutThe Classic Years 1927-1940
Blind Willie McTellLord, Send Me An AngelThe Classic Years 1927-1940
Buddy MossSomeday BabyBuddy Moss Vol 2 1933 - 1934
Buddy MossJealous Hearted ManBuddy Moss Vol 1 1933
Buddy MossGoing To Your Funeral ...Buddy Moss Vol 3 1935 - 1941
Buddy MossJoy RagBuddy Moss Vol 3 1935 - 1941
Blind Willie McTellMonologues On The History...The Classic Years 1927-1940
Blind Willie McTellBlues Around MidnightAtlanta Twelve String
Blind Willie McTellLittle DeliaAtlanta Twelve String
Blind Willie McTellKill It KidAtlanta Twelve String
Peg Leg HowellBroke & Hungry BluesAtlanta Blues
H. Williams & E. AnthonyGeorgia CrawlAtlanta Blues
Macon Ed & Tampa JoeEverything's Coming My WayAtlanta Blues
Ruth WillisMan Of My OwnGeorgia Blues 1928 - 1933
Fred McMullenDeKalb Chain GangGeorgia Blues 1928 - 1933
Blind Willie McTellTalkin' to You, MamaMcTell & Weaver - The Post-War Years
Blind Willie McTellEast St. LouisMcTell & Weaver - The Post-War Years
Blind Willie McTellGood Little ThingMcTell & Weaver - The Post-War Years
Barbecue BobBarbecue BluesBarbecue Bob Vol 1 1927 - 1928
Barbecue BobGoin' Up the CountryBarbecue Bob Vol 1 1927 - 1928
Barbecue BobIt Won't be Long Now, Part 1Barbecue Bob Vol 1 1927 - 1928
Blind Willie McTellA Married Man's A FoolLast Session

Show Notes:

The-Atlanta-Blues-RBF

I recently finished Michael Gray's excellent "Hand Me My Travelin' Shoes – In Search of Blind Willie McTell" which is the inspiration for today's show. In addition to focusing on Blind Willie we play the music of his fellow Atlanta bluesmen, just about all who were inspired by McTell and several who played with him. Like Memphis, Atlanta was a staging post for musicians on their way to all points. It’s not surprising then that the first country blues musician, Ed Andrews, was recorded there in 1924. The company that recorded him, Okeh, was one of many to send their engineers to Southern cities to record local talent. Companies like Victor, Columbia, Vocalion and Brunswick made at least yearly visits until the depression.

McTell was born in Thomson, Georgia, near Augusta, and raised near Statesboro. He played a standard six-string acoustic until the mid-'20s, and never entirely abandoned the instrument, but from the beginning of his recording career, he used a 12-string acoustic in the studio almost exclusively. He was A major figure with a local following in Atlanta from the 1920s onward, he recorded dozens of sides throughout the 1930s under a multitude of names — all the better to juggle "exclusive" relationships with many different record labels at once — including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis. Willie's recording career began in late 1927 with two sessions for Victor records, eight sides including "Statesboro Blues."

Blind Willie McTellHe recorded prolifically through the 1930's a did a session for the Library of Congress in 1940 under the supervision of John Lomax. The newly founded Atlantic Records — which was more noted for its recordings of jazz and R&B — took an interest in Willie and cut 15 songs with him in Atlanta during 1949. The one single released from these sessions, however, didn't sell, and most of those recordings remained unheard for more than 20 years after they were made. McTell cut his final sides for record store owner Ed Rhodes in 1956, who had begun taping local bluesmen at his shop in Atlanta in the hope of releasing some of it. These turned out to be the only tapes he saved, out of all he'd recorded.

A younger contemporary of Blind Willie McTell and Curley Weaver, Eugene "Buddy" Moss was part of a near-legendary coterie of Atlanta bluesmen, and one of the few of his era lucky enough to work into the blues revival of the 1960s and '70s. By the time he arrived in Atlanta, he was good enough to be noticed by Curley Weaver and Robert "Barbecue Bob" Hicks, who began working with the younger Moss. It was Weaver and Bob that got him his first recording date, at the age of 16, as a member of their group the Georgia Cotton Pickers, on December 7, 1930. In January of 1933, however, he made his debut as a recording artist in his own right for the American Record Company. He frequently played with Barbecue Bob, and after Bob died of pneumonia on October 21, 1931, he found a new partner and associate in Blind Willie McTell, performing with the Atlanta blues legend as local parties in the Atlanta area. A jail term curtailed his career from 1935-1941. Moss made some further recordings before WW II interfered. Moss continued performing in the area around Richmond, Virginia and Durham, North Carolina during the mid-'40s, and with Curley Weaver in Atlanta during the early 1950s, but music was no longer his profession or his living.

One of the first recorded products of the Atlanta blues community of the pre-war era, Peg Leg Howell bridged the gap between the early country-blues sound and the 12-bar stylings to follow. He signed to Columbia in 1926. Howell recorded prolifically up until 1929; he recorded solo and with his street group, the Gang (guitarist Henry Williams and fiddler Eddie Anthony). Williams was imprisoned not long after, and following Anthony's 1934 death, Howell gradually disappeared from the area blues circuit. He spent the next several decades clouded in obscurity, with diabetes claiming his other leg in 1952. Howell was 75 when the Testament label sought him out in 1963 to record his first new material in over 40 years; he died in Atlanta on August 11, 1966.

Eddie Anthony and Henry Williams cut one 78 in 1930. In addition Anthony recorded as Macon Ed with the mysterious Tampa Joe. They cut eight sides in 1930.

Little is known about Fred McMullen. He cut 8 issued sides in 1933 for ARC label. Was part of the group called the Georgia Browns with Buddy Moss and Curley Weaver who cut 10 sides in 1933.

Barbecue Bob was the name given by Columbia Records talent scout Don Hornsby to Atlanta blues singer Robert Hicks. Hicks is widely credited as being the singer who more than any helped to popularize Atlanta blues in its formative period. Born to a family of sharecroppers in Walnut Grove, GA, Robert Hicks and his brother, Charley "Lincoln" Hicks relocated with them to Newton County. There the Hicks brothers came in contact with Savannah "Dip" Weaver and her son, Curley Weaver. With the Weavers, the Hicks boys learned to play guitar and sing. Robert Hicks was the first of this group to "break out"; Hicks' first Columbia record, "Barbecue Blues," recorded in Atlanta on March 25, 1927 and was a big hit. Over the next three years he made 62 sides for Columbia. Hicks died in 1931 of pneumonia. He was only 29.

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