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I could continue the list with Fred McDowell, Mississippi John Hurt, and many blind street singers and preachers like Blind Lemon Jefferson, Blind Willie Johnson, etc. Musicians certainly appreciate them as you can see by all the songs modern musicians cover by Robert Johnson, Ledbelly, and we could go on all night? Why all this disrespect for the true geniuses of American Music? Perhaps what John Lee sang is prophetic: “Serves you right to suffer serves you right to be alone.”
Music expands, people learn about new artists, they buy what they hear on the radio. Is this a bad thing? Some people think so, but it’s part of music, it continues to grow. Soon this whole fad of rap and pop will fade out and a new genre will emerge and people will begin to like that new genre and then people(like your self) will ask “Why don’t more people appreciate rap anymore?” What I’m trying to get at is, a genre will never stay popular forever. People will always find something new. On a completely different note, you should check out fairly unknown blues guitarist by the name of Roy Buchanan, he is simply amazing and I think you will appreciate him.

Technorati Tags: Blind Lemon Jefferson, Mississippi John Hurt, Robert Johnson

Mississippi John Hurt - Goodnight Irene
Rainbow Quest No. 36 with Pete Seeger, Hedy West and Paul Cadwell

Duration: 6:04
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Technorati Tags: blues, hurt, John, leadbelly, mississippi, pete, quest, rainbow, seeger

Although not as consistently magnificent as Hurt’s 1928 recordings, the performances the artist recorded for Vanguard in the mid 1960’s would be the zenith of many blues artist’s entire careers. Songs like the opening Payday” and

This is the first in a multiple-volume series devoted to the Piedmont recordings Hurt made upon his rediscovery in the early ’60s. They capture him with his playing and singing still intact, untouched by the world around him, a world that had changed so much since he initially recorded back in the ’20s. Many of his best-known tunes are here — “Candy Man Blues,” “Salty Dog,” “Spike Driver Blues,” “Louis Collins,” “Spanish Fandango,” and the title track — and although Hurt was to re-record them for other labels, these versions are as fine as any. There’s really no one else in the blues with the gentle wistfulness of John Hurt, and this collection makes a wonderful addition to anyone’s blues or folk music collection.

- Cub Koda, All Music Guide

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Song is recorded in 1928…

AIN’T NO TELLIN' (Also See "Make Me A Pallet On The Floor")

Don’t you let my good girl catch you here
Don’t you let my good girl catch you here
She might shoot you, may cut you and stab (stomp?)(starve?) you too
Ain’t no telling’ what she might do

I’m up the country where it’s cold sleet and snow
I’m up the country where it’s cold sleet and snow
Ain’t no telling’ how much further I may go

Eatin’ breakfast here, my dinner in Tennessee
Eatin’ breakfast here, my dinner in Tennessee
Eat my breakfast here, my dinner in Tennessee
I told you I was coming’ Babe want you look for me

The way I’m sleeping my back and shoulder’s tired
The way I’m sleeping my back and shoulder’s tired
The way I’m sleeping my back and shoulder’s tired
Gonna turn over and try it on the side

Don’t you let my good girl catch you here
She might shoot you, may cut you and stab you too
Ain’t no tellin’ what she might do