McTell recording for in an hotel room, November 1940 Background information Birth name William Samuel McTier Also known as Blind Sammie, Georgia Bill, Hot Shot Willie, Blind Willie, Barrelhouse Sammy, Pig & Whistle Red, Blind Doogie, Red Hot Willie Glaze, Red Hot Willie, Eddie McTier Born ( 1898-05-05)May 5, 1898, US Died August 19, 1959 ( 1959-08-19) (aged 61), U.S. Genres,,,, Occupation(s) Musician, songwriter,,, preacher Instruments Vocals, guitar, harmonica,,, violin Years active 1927–1956 Labels,,,,,,,, Associated acts, Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1959) was a and singer and guitarist. He played with a fluid, syncopated technique, common among many exponents of Piedmont blues. Unlike his contemporaries, he came to use exclusively. McTell was also an adept, unusual among ragtime bluesmen. His vocal style, a smooth and often laid-back, differed greatly from many of the harsher voices of bluesmen such as.

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McTell performed in various musical styles, including,, and. McTell was born in. He learned to play the guitar in his early teens. He soon became a street performer in several Georgia cities, including and, and first recorded in 1927 for.

He never produced a major, but he had a prolific recording career with different labels and under different names in the 1920s and 1930s. In 1940, he was recorded by the folklorist and for the folk song archive of the. He was active in the 1940s and 1950s, playing on the streets of Atlanta, often with his longtime associate. Twice more he recorded professionally. His last recordings originated during an impromptu session recorded by an Atlanta record store owner in 1956. McTell died three years later, having suffered for years from diabetes and alcoholism. Despite his lack of commercial success, he was one of the few blues musicians of his generation who continued to actively play and record during the 1940s and 1950s.

He did not live to see the, in which many other bluesmen were 'rediscovered.' McTell's influence extended over a wide variety of artists, including the, who covered his ',' and, who paid tribute to him in his 1983 song ',' the refrain of which is 'And I know no one can sing the blues like Blind Willie McTell.' Other artists influenced by McTell include,,,,, and the. Salvation Data Hd Doctor Suite Download on this page. Contents • • • • • • • • • • Biography [ ] He was born William Samuel McTier in. Most sources give the date of his birth as 1898, but researchers Bob Eagle and Eric LeBlanc suggest 1903, on the basis of his entry in the. McTell was born in one eye and lost his remaining vision by late childhood. He attended schools for the blind in Georgia, New York and Michigan and showed proficiency in music from an early age, first playing the harmonica and accordion, learning to read and write music in, and turning to the six-string guitar in his early teens.

His family background was rich in music; both of his parents and an uncle played the guitar. He was related to the bluesman and gospel pioneer. McTell's father left the family when Willie was young. After his mother died, in the 1920s, he left his hometown and became an itinerant musician, or '.' He began his recording career in 1927 for in.

McTell married Ruth Kate Williams, now better known as, in 1934. She accompanied him on stage and on several recordings before becoming a nurse in 1939. For most of their marriage, from 1942 until his death, they lived apart, she in, near Augusta, and he working around Atlanta. In the years before, McTell traveled and performed widely, recording for several labels under different names: Blind Willie McTell (for Victor and Decca), Blind Sammie (for Columbia), Georgia Bill (for Okeh), Hot Shot Willie (for Victor), Blind Willie (for Vocalion and Bluebird), Barrelhouse Sammie (for Atlantic), and Pig & Whistle Red (for Regal). The appellation 'Pig & Whistle' was a reference to a chain of barbecue restaurants in Atlanta; [ ] McTell often played for tips in the parking lot of a Pig 'n Whistle restaurant. He also played behind a nearby building that later became Ray Lee's Blue Lantern Lounge.

Like, another songster who began his career as a street artist, McTell favored the somewhat unwieldy and unusual, whose greater volume made it suitable for outdoor playing. In 1940 John A. Lomax and his wife,, a professor of at the, interviewed and recorded McTell for the Archive of American Folk Song of the Library of Congress in a two-hour session held in their hotel room in Atlanta. These recordings document McTell's distinctive musical style, which bridges the gap between the raw country blues of the early part of the 20th century and the more conventionally melodious, -influenced East Coast Piedmont blues sound. The Lomaxes also elicited from the singer traditional songs (such as and ) and spirituals (such as '), which were not part of his usual commercial repertoire. In the interview, John A.