From the mid-1920s into the very early 1930s, “artist and repertoire” (known as A&R) personnel combed the South and also north cities looking for talent for the race-record subsidiaries of major record businesses, and also in Atlanta they tape-recorded a distinct style of country blues performers. The use of twelve-string guitars, even more strumming than selecting, irregular rhythms, as well as a nasal vocal technique embodied the Atlanta noise, as executed by brothers Charlie “Lincoln” Hicks and Robert “Barbecue Bob” Hicks.
The influence of the delicately finger-picked Piedmont style of country blues likewise showed up in Georgia with Joshua Barnes “Peg Leg” Howell and Eugene “Buddy” Moss, that kept among the most successful very early blues taping jobs right into the 1930s. “Blind Willie” McTell, one more country blues vocalist energetic from the 1920s, played in Atlanta till quickly before his death sometime in the late 1950s, as well as like many “songsters” of the day, he integrated a wide range of pop music designs in his collection. A longtime citizen of the city, McTell frequently played on the road beyond the Pig ‘n’ Whistle barbecue stands and worked together with the Hicks brothers, Buddy Moss, Curley Weaver, as well as Piano Red.
In Chicago, African American travelers from the South developed a new design of urban blues, and by 1928 two of one of the most popular and also extensively taped blues entertainers in America were Georgia Tom and “Tampa Red” Whittaker. Despite the fact that the variety of blues recordings started to wane after the Great Depression and also right into the 1940s, the genre stayed a popular kind of expression in north cities. Georgia-born guitarists James “Kokomo” Arnold from Lovejoy, J. B. Hutto, Joe Carter, and Big Maceo Merriweather contributed to the urban blues scene in Chicago throughout the center of the century.