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Moore started the record label Farish Street Records in 2002. The label is named to honor Farish Street, the home to live and juke blues music in the neighborhood where Dorothy was raised. Moore's albums Please Come Home For Christmas, [1] Gittin' Down Live, I'm Doing Alright and Blues Heart were released on the label.
Blues music can't be explained in just a few words. It's a way of life and it comes from the heart. These 25 songs show the breadth and depth of the genre.
The album concentrates on the first electrically recorded blues discs made in North America between 1927 and 1931. [8] It covers a broad range of blues music, from Mississippi Delta artists such as, Charley Patton, Son House and Skip James to Memphis songsters like Frank Stokes and jug bands including the Memphis Jug Band and Cannon's Jug Stompers, Piedmont blues players like Blind Willie ...
Mississippi is best known as the home of the blues which developed among the freed African Americans in the latter half of the 19th century and beginning 20th century. The Delta blues is the style most closely associated with the state, and includes performers like Charley Patton, Robert Johnson (buried in Greenwood, MS), David "Honeyboy" Edwards, Willie Brown, Tommy Johnson, Ishmon Bracey, Bo ...
Drummer best known as a member of the Jelly Roll Kings. [10] Bo Carter (March 21, 1893, Bolton, Mississippi – September 21, 1964). Country blues singer and multi-instrumentalist who performed mostly early Delta blues, playing guitar, banjo, string bass and clarinet, one of the first dirty blues musicians, with songs such as "Banana in Your ...
Pages in category "Blues musicians from Mississippi" The following 200 pages are in this category, out of approximately 207 total. This list may not reflect recent changes .
Many blues songs were developed in American folk music traditions and individual songwriters are sometimes unidentified. [1] Blues historian Gerard Herzhaft noted: In the case of very old blues songs, there is the constant recourse to oral tradition that conveyed the tune and even the song itself while at the same time evolving for several decades.
The rediscovery in 1963 of this long-lost record led musicologist Dick Spottswood to locate Avalon in an atlas, resulting in Hurt's rediscovery and subsequent booking at the 1963 Newport Folk Festival, and a new recording contract with Vanguard Records, which brought his music to a global audience in the last three years of his life.