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William Harris & Buddy Boy Hawkins 1927 - 1929

Walter “Buddy Boy” Hawkins, vocal, guitar.
William Harris, vocal, guitar.
With contribuions by Joe Robinson, guitar, speech and possibly Charlie Patton, vocal comments.
Genres: Country Blues, Country Blues guitar.
Informative booklet notes by Paul Oliver
Detailed discography.
From this album's booklet notes:
Nothing is known about William Harris and Buddy Boy Hawkins as individuals, and field research has uncovered almost no details of their lives; what we know of them is a fragment of information or two, and the rest has to be deduced from their songs.  From the evidence of his guitar style, with its emphasis on rhythmic complexity rather than on single-string work, William Harris may have come from the Mississippi Delta. 

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Too Late Too Late Vol 3 1927 - 1960's

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Mississippi Blues Vol. 3 Complete Recordings of Robert Petway, Mississippi Matilda, Sonny Boy Nelson
DOCD-5671 Mississippi Blues Vol. 3 Robert Petway, vocal, guitar. “Mississippi” Matilda, vocal. “Sonny Boy” Nelson (Eugene Powell ) , vocal guitar. With contributions by; Bo Carter, guitar. Alfred Elkins, stand-up bass. Willie Harris, vocal, guitar. Genre; Mississippi “Country” Blues. Informative booklet notes by Chris Smith. Detailed discography. Robert Petway made the first recording of Catfish Blues, and there’s a good case for believing that he composed it: ‘He just made that song up and used to play it at them old country dances. He just made it up and kept it in his head,’ says Honeyboy Edwards, who learned the song from Petway in person. The first bars of 'Catfish Blues' locate his music squarely in the gravel-voiced, rhythm-dominated tradition usually thought of as typical of the Mississippi Delta; the song chugs implacably on, powered by a monochordal riff. Petway was no guitar virtuoso, but he ably exploited his National steel guitar’s capacity for volume, and made effective use of the trademark triplet runs which can be heard in many of his songs; during Ride ‘Em On Down he varies the device, providing instead an exciting rush of sixteenth notes. Like McClennan, Robert favoured a dramatic vocal delivery, growling out the lyrics, bearing down hard on the beat, and encouraging himself with spoken asides. Continued...

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