Of the many important recordings made in his trips through the American South in 1959, perhaps none of the artists he documented were as destined to make as much of an impact on the world of popular music as . It remains astounding that a rural blues performer of such talent, already in his mid-fifties when came across him, had not previously recorded before these performances were taped in September 1959. Country-blues was seldom recorded during the postwar years prior to the folk revival, however, and made the most of his opportunity to get documented on these 12 songs (one of which is a half-minute instrumental). This is excellent country-blues not much modernized from the Delta greats of the '20s and '30s, featuring 's magnificently versatile guitar, which was adept at both keeping a driving rhythm and crafting keening slide lines. His vocals are rich and assured, and the cuts benefit from some sparse but creatively eerie accompaniment on comb by on a few cuts, as well as second guitar by on some tracks. ( and take the vocals on one number, "When the Train Comes Along," with supplying his habitually stinging guitar.) The material includes spirituals, but also get-down uptempo blues and indications that was aware of some trends beyond his home grounds, particularly on "Good Morning Little Schoolgirl." would go on to make many other records, but this is a particularly important one both in his history, and in launching the rediscovery of country-blues performers as a whole at the dawn of the '60s folk revival. ~ Richie Unterberger