Country Blues Guitar

[Boss Man Zwiebelsohn]

Those three, erm, graces sure look like they're a bit too tanned to be Greek

Seriously, look like. I don't know what kind of make-up and lighting they used, but you can often almost only guess the differences in skin colour in those old B&W recordings!

Johnny Otis' real name was Ioannis Alexandres Veliotes, he was the sun of greek immigrants.

From Wiki:

Johnny grew up in a predominantly black neighborhood in Berkeley, California, where his father owned a grocery store. He became known for his choice to live his professional and personal life as a member of the African-American community. He wrote, "As a kid I decided that if our society dictated that one had to be black or white, I would be black."

Tough decision in those days though Cali might have been better than let's say Alabama ...

[DawgBone]

Johnny Otis' real name was Ioannis Alexandres Veliotes, he was the sun of greek immigrants.

From Wiki:

Johnny grew up in a predominantly black neighborhood in Berkeley, California, where his father owned a grocery store. He became known for his choice to live his professional and personal life as a member of the African-American community. He wrote, "As a kid I decided that if our society dictated that one had to be black or white, I would be black."

Tough decision in those days though Cali might have been better than let's say Alabama ...

I believe Chris Cain had a black father and a greek mother. I wonder if he passes Ragman's blues ministry of truth....

[RJVB]

As for singing, not all black people can sing contrary to what seems to be a popular belief among whites, throat structure be damned. Same for rhythm.

Of course. Not all guys with a big D or women with double Ds get to be pr0n stars, right?

[Boss Man Zwiebelsohn]

I just discovered by random this BBC documentary presented by the Godfather of the British Blues Revival which includes some nice examples of rural playing styles. More episodes on the same YT channel.

[ragman1]

You really ought to have kept your mouth shut, you had that much right. Please tell me being drunk was the excuse for this post.

What percentage African descent does one need to be to qualify to play this kind of music and still pass your brown paper bag test? Serious question. You're speaking but you really don't know the background or motivations of anyone posting here. Please remove your post and do yourself and all of us a favor. Thanks.

Hi, Dawg. No, I wasn't drunk, quite the contrary. But I've been around a bit, you know? I've known a ton of players who could play this style really well, drop D, open G, slide, the whole thing. They were really good some of them.

There were only a couple I'd listen to with any real attention. But they were people to whom the feel came naturally, it was just there in their blood. Don't ask me how.

The others, though technically efficient, were okay but the background wasn't there, you know? it was just imitation. That's all my point really, I'm not trying to stop anyone doing what they want.

And by the way, it's not about being black today, it was about being black back then. There's a lot of difference.

I might delete the post but we'll see. I'll think on it.

and calm down, it's only music :-)

[Kirk Garrett]

…I've known a ton of players who could play this style really well, drop D, open G, slide, the whole thing. They were really good some of them.

There were only a couple I'd listen to with any real attention. But they were people to whom the feel came naturally, it was just there in their blood. Don't ask me how.

The others, though technically efficient, were okay but the background wasn't there, you know? it was just imitation….]

It’s almost as if this statement could apply to any style of music.

[Kirk Garrett]

Does this work? I think so. I think it’s a great version. Same guitar arrangement, almost, as the John Hurt version. Somewhat different feel, and obviously Jerry has a band here.

Some of the lyrics get pretty gnarly, and take us pretty deeply into cultural appropriation.

Or conversely this is an example of someone who loves American music and gives it his own lovely voice.

[gcb]

Good advice above.
Many 78s to listen/download at Internet Archive: Digital Library of Free & Borrowable Books, Movies, Music & Wayback Machine
Check also Elmore James.

[DawgBone]

D
Some of the lyrics get pretty gnarly, and take us pretty deeply into cultural appropriation.

Cultural appropriation is a fantasy. Society is where people share, trade, and borrow ideas from others.

[DawgBone]

And by the way, it's not about being black today, it was about being black back then. There's a lot of difference.

I might delete the post but we'll see. I'll think on it.

and calm down, it's only music :-)

Your remarks were inappropriate. You've been around a while? Then you should know better than that.

[Kirk Garrett]

Cultural appropriation is a fantasy. Society is where people share, trade, and borrow ideas from others.

I quite agree.


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[MarkRhodes]

This thread reminds me of something that had completely slipped my mind.
About 30 years ago I interviewed David Soldier for Option magazine.
David was born David Sulzer and it is under that name that he is (or then was) a neuroscientist at Columbia University.
I had just heard the first Soldier String Quartet album and was fascinated by his variety of influences.
One thing that came up was Delta blues. He really liked Skip James and mailed me a several page chart he had made of a tune of Skip's showing the "aperiodicity" of his music. (This was before my first exposure to a drum machine---I didn't know anything about quantizing beats.) I didn't know what to make of it but when I listened to Skip's song, I had no trouble at all "getting" the rhythm.

I think the most important thing in music is rhythm. It's the motor that makes it all go. But there are many rhythms, some simpler than others. I think the key to musical happiness is finding the rhythm that makes you come alive and then to surf it like a mighty wave.

[Kirk Garrett]

Cultural appropriation is a fantasy. Society is where people share, trade, and borrow ideas from others.

That said, I would not necessarily be keen to sing the lyrics of Spike Driver Blues in front of some audiences.

[DawgBone]

That said, I would not necessarily be keen to sing the lyrics of Spike Driver Blues in front of some audiences.

I have done the John Hurt version many times. What version are you talking about?

[Kirk Garrett]

I have done the John Hurt version many times. What version are you talking about?

The version I posted above in which García adds traditional lyrics from another ballad Hurt covered, John Henry.


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[swingtoneman]

Thanks everybody for your input. Much appreciated.

[alltunes]

I’ve messing with slide in standard tuning lately, yet again. I have found some good resources on the subject but the best advice is rather simple. I think I heard Jack Pearson say it.

Play a line with your fingers and then try and mimic it with the slide.

[gcb]

[gcb]

[Kirk Garrett]

gcb that’s a smokin’ Elmore side!


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[Mick-7]

I just discovered by random this BBC documentary presented by the Godfather of the British Blues Revival which includes some nice examples of rural playing styles. More episodes on the same YT channel.

Bukka White, one of the greats, dig the rhythmic right hand tapping on the fretboard he does in that video.

[StoneWaller]

I've gone through deep dives in music genres over the years, as a listener, and as a player (albeit a pretty crappy one) Change is in my DNA. Go hot and heavy until I'm sick of it and move on. All over the map, from 2nd wave black metal to my current Jazz/bepop period. "Country blues" as some call it has been my consummate foundation, and what got me started fiddling with guitars 30 years ago.

The alpha and omega in my mind is Jr Kimbrough. Primitive, hypnotic, droning heavy grooves that run the gamut of emotion. "Meet Me in the City" was the first song played after the preacher said "you may kiss the bride." One of the happiest moments in my life. Other tunes are so dark and heavy, they invoke old memories of being alone at 2 am, glassy eyed drunk in a dive I have no business being in, eying somebody I shouldn't be eying, with intentions of doing very bad deeds before the night is up. No one else but Jr can pull those emotional strings with me. But alas, the bear sleeps now, soundly to the soothing, sophisticated harmonies of Joe Pass and Herb Ellis. Regardless someday "done got old" off the linked album will play as people walk pass my casket.

[Mark M.]

My first was “Spike Driver’s Blues”. It’s one chord, so it was easy to focus on the right hand.

[brucekenway]

Hi there, country blues guitar can feel both challenging and rewarding, and getting started often means listening, experimenting and gradually building technique. here are some thoughts you can share in the forum:
a) who are the best players to listen to?

• mississippi john hurt: his relaxed fingerpicking and gentle timing are a great introduction to country blues feel.
• robert johnson: although more delta blues than strictly “country blues,” his phrasing and slide techniques inform many later players.
• blind blake: known for ragtime-influenced fingerpicking; listening to his approach helps bridge country blues and ragtime styles.
• mississippi fred mccdowell: especially if interested in slide; his raw tone and open tunings are instructive.
• rev. gary davis: combines gospel and blues fingerstyle; complex but inspiring for advanced fingerpicking ideas.
• elmore james (for slide tone) and skip james (for haunting open tunings) can also broaden understanding.
• more recent interpreters: john fahey, kyle t. christian, jack lawrence, kevin burleigh—these modern players study old recordings and adapt techniques, so they can be more accessible in tone quality.
  listening tip: pick a handful of recordings, loop short sections, try to internalize the groove and finger patterns before attempting transcription.

b) tuning? are there different tunings?
country blues often uses open tunings and dropped tunings to facilitate bass droning and slide work:

• open d (d-a-d-f?-a-d) and open g (d-g-d-g-b-d): common for slide and fingerstyle; they allow chord shapes with one finger or slide.
• drop d (d-a-d-g-b-e): retains familiar shapes while adding a deeper bass note on low string; useful for alternating bass patterns.
• open e (e-b-e-g?-b-e) or open d tuned up/down relative to standard: beware of string tension if tuning up; tuning down from open E to open D is gentler on strings.
• “vestapol” tuning: open d or open a variants used in many acoustic blues; open a (e-a-e-a-c?-e) is open d capoed, etc.
• standard tuning with capo: some country blues players used standard tuning and capo to match vocal range or particular chord voicings.
  experiment tip: try open g first if you want to fingerpick motifs with droning bass and melody on treble strings; try drop d if you prefer more familiar chord shapes but want a strong bass drone. always listen to recordings to identify tunings—some artists mention tunings in liner notes or interviews; others can be estimated by ear.

c) tutorial books to get?

• stefan grossman’s country blues guitar instruction: classic volumes include transcriptions and tablature of early players; often comes with audio or video demonstrations.
• “rev. gary davis: the complete guitar solos” or similar transcriptions: challenging but deep insight into complex fingerstyle.
• blake fowler’s “acoustic blues guitar” resources: can include patterns influenced by ragtime and blues.
• “fingerpicking blues guitar” by tucci or alternative authors: look for books that cover alternating bass and melody patterns typical of country blues.
• tablature collections of delta and fingerstyle blues: check trusted publishers for accurate transcriptions (be wary of poorly transcribed tab online).
• online lessons: many instructors share free videos demonstrating basic country blues patterns in open tunings; complement book study with watching hand positioning and rhythm feel.
• transcription practice: pick a simple song by mississippi john hurt or blind blake, try slow transcription yourself; this can be the best “book” for learning ear training and groove.
  advice: combine book/tab study with listening to original recordings; playing alongside or slow-downed versions helps internalize timing and nuance.

d) is ragtime guitar closely related?

• yes and no: ragtime guitar fingerpicking (popularized by blind blake, blind boy fuller, etc.) shares the alternating bass and syncopated treble melody approach with country blues. the rhythmic feel of ragtime (oom-pah bass with syncopation) influenced early blues fingerpickers.
• ragtime guitar pieces often use more complex harmony and steady syncopation, sometimes sounding “happier,” whereas country blues may use simpler chord progressions, more blue notes, and a looser feel.
• many country blues players incorporated ragtime elements in certain pieces; listening to blind blake you hear a strong ragtime influence in his blues numbers.
• learning ragtime fingerstyle patterns can improve your right-hand independence and rhythmic sense for country blues, even if the repertoire differs.
• if you enjoy ragtime arrangements on guitar, you’ll likely find overlap in techniques: thumb alternation, syncopation, use of open tunings to allow droning strings.
• but don’t feel obligated to master full ragtime repertoire first; focus on simpler country blues patterns, then explore ragtime to expand vocabulary.

[Skip Ellis]

Hi there, country blues guitar can feel both challenging and rewarding, and getting started often means listening, experimenting and gradually building technique. here are some thoughts you can share in the forum:
a) who are the best players to listen to?

• mississippi john hurt: his relaxed fingerpicking and gentle timing are a great introduction to country blues feel.
  
• robert johnson: although more delta blues than strictly “country blues,” his phrasing and slide techniques inform many later players.
  
• blind blake: known for ragtime-influenced fingerpicking; listening to his approach helps bridge country blues and ragtime styles.
  
• mississippi fred mccdowell: especially if interested in slide; his raw tone and open tunings are instructive.
  
• rev. gary davis: combines gospel and blues fingerstyle; complex but inspiring for advanced fingerpicking ideas.
  
• elmore james (for slide tone) and skip james (for haunting open tunings) can also broaden understanding.
  
• more recent interpreters: john fahey, kyle t. christian, jack lawrence, kevin burleigh—these modern players study old recordings and adapt techniques, so they can be more accessible in tone quality.
  listening tip: pick a handful of recordings, loop short sections, try to internalize the groove and finger patterns before attempting transcription.

b) tuning? are there different tunings?
country blues often uses open tunings and dropped tunings to facilitate bass droning and slide work:

• open d (d-a-d-f?-a-d) and open g (d-g-d-g-b-d): common for slide and fingerstyle; they allow chord shapes with one finger or slide.
  
• drop d (d-a-d-g-b-e): retains familiar shapes while adding a deeper bass note on low string; useful for alternating bass patterns.
  
• open e (e-b-e-g?-b-e) or open d tuned up/down relative to standard: beware of string tension if tuning up; tuning down from open E to open D is gentler on strings.
  
• “vestapol” tuning: open d or open a variants used in many acoustic blues; open a (e-a-e-a-c?-e) is open d capoed, etc.
  
• standard tuning with capo: some country blues players used standard tuning and capo to match vocal range or particular chord voicings.
  experiment tip: try open g first if you want to fingerpick motifs with droning bass and melody on treble strings; try drop d if you prefer more familiar chord shapes but want a strong bass drone. always listen to recordings to identify tunings—some artists mention tunings in liner notes or interviews; others can be estimated by ear.

c) tutorial books to get?

• stefan grossman’s country blues guitar instruction: classic volumes include transcriptions and tablature of early players; often comes with audio or video demonstrations.
  
• “rev. gary davis: the complete guitar solos” or similar transcriptions: challenging but deep insight into complex fingerstyle.
  
• blake fowler’s “acoustic blues guitar” resources: can include patterns influenced by ragtime and blues.
  
• “fingerpicking blues guitar” by tucci or alternative authors: look for books that cover alternating bass and melody patterns typical of country blues.
  
• tablature collections of delta and fingerstyle blues: check trusted publishers for accurate transcriptions (be wary of poorly transcribed tab online).
  
• online lessons: many instructors share free videos demonstrating basic country blues patterns in open tunings; complement book study with watching hand positioning and rhythm feel.
  
• transcription practice: pick a simple song by mississippi john hurt or blind blake, try slow transcription yourself; this can be the best “book” for learning ear training and groove.
  advice: combine book/tab study with listening to original recordings; playing alongside or slow-downed versions helps internalize timing and nuance.

d) is ragtime guitar closely related?

• yes and no: ragtime guitar fingerpicking (popularized by blind blake, blind boy fuller, etc.) shares the alternating bass and syncopated treble melody approach with country blues. the rhythmic feel of ragtime (oom-pah bass with syncopation) influenced early blues fingerpickers.
  
• ragtime guitar pieces often use more complex harmony and steady syncopation, sometimes sounding “happier,” whereas country blues may use simpler chord progressions, more blue notes, and a looser feel.
  
• many country blues players incorporated ragtime elements in certain pieces; listening to blind blake you hear a strong ragtime influence in his blues numbers.
  
• learning ragtime fingerstyle patterns can improve your right-hand independence and rhythmic sense for country blues, even if the repertoire differs.
  
• if you enjoy ragtime arrangements on guitar, you’ll likely find overlap in techniques: thumb alternation, syncopation, use of open tunings to allow droning strings.
  
• but don’t feel obligated to master full ragtime repertoire first; focus on simpler country blues patterns, then explore ragtime to expand vocabulary.

additional tips in a human voice

• start simple: choose one or two short country blues pieces (for instance “honey, honey blues” by mississippi john hurt) and learn chord shapes and basic fingerpicking slowly.
  
• use a metronome or a slow-down tool on recordings: maintaining a steady yet relaxed groove is key in country blues.
  
• record yourself playing and listen back: often the nuance of timing and tone reveals areas to refine.
  
• experiment with tone: many country blues players used small-bodied acoustics with light strings; try a lighter gauge and fingerpicks or bare fingers to find a balance of attack and warmth.
  
• immerse yourself: beyond technique, study the history and context of the songs—understanding lyrical themes and cultural background deepens your interpretation.
  
• join a community: share recordings or questions in the forum, ask for feedback; many players are happy to suggest fingerings or point out subtle groove details.
  
• be patient: fingerstyle country blues involves coordination of bass, melody and rhythm; progress can feel slow at first but becomes joyful as you internalize patterns.

Sounds AI generated