Blind Willie McTell: The Powerful Story Behind His Blues

The twelve-string guitar rang out on Atlanta’s Decatur Street throughout the 1930s and 1940s. One musician, Blind Willie McTell, remained a constant presence there. Moreover, he played with a fingerpicking technique that made fellow guitarists stop and listen. His fluid, syncopated style created the illusion of multiple instruments playing at once. Consequently, fellow musicians struggled to replicate his complex patterns.

William Samuel McTier was born on May 5, 1898, in Thomson, Georgia. He would become one of Piedmont blues music’s most accomplished guitarists. Blindness shaped his life from birth. Specifically, he was born blind in one eye. Furthermore, he lost his remaining vision by late childhood. Despite this, he attended schools for the blind in Georgia, New York, and Michigan. There, he learned to read and write music in Braille. This was a rare skill among blues musicians.

His musical family included both parents and an uncle who played guitar. Additionally, he was related to bluesman and gospel pioneer Thomas A. Dorsey. After starting with harmonica and accordion, he picked up guitar in his early teens. However, when his mother died in the 1920s, he left Thomson. Subsequently, he became an itinerant musician.

The Distinctive Twelve-String Sound

The choice of instrument set him apart immediately. Like Lead Belly, he recognized the twelve-string guitar’s practical advantages. Its greater volume cut through street noise and crowded venues. However, his approach differed dramatically from other twelve-string players.

Most musicians used the instrument primarily for rhythm. They let its natural resonance drive the beat. Instead, this Georgia guitarist developed a nimble, elegant fingerpicking style. Consequently, the twelve-string sounded like multiple guitars playing simultaneously. His technique combined solid moving bass lines with spontaneous melodic runs. Therefore, he created a rich, layered sound that captivated listeners.

Slide guitar added another dimension to his playing. This was unusual among ragtime-influenced Piedmont blues artists. Moreover, the slide work was clean and precise. It contrasted with the rawer approach of Delta bluesmen. He typically tuned down from concert pitch. Specifically, he dropped the low E string anywhere from C# to A or lower. This gave his playing a distinctive tonal quality. As a result, it became part of his signature sound.

The vocal style of Blind Willie McTell provided the perfect complement to his guitar work. The smooth, laid-back tenor contrasted sharply with the harsher voices of Delta bluesmen like Charley Patton. Furthermore, his voice was clear and expressive. Contemporaries described it as singing “through clear as a bell.” This vocal clarity made lyrics intelligible and accessible. Consequently, it contributed to his popularity as a street performer.

A Prolific Recording Career Under Many Names

The first recording session came in October 1927. Victor Records captured it in Atlanta. Four songs were cut, including “Statesboro Blues.” This would become his most enduring composition. These early sides showcased remarkable storytelling ability. Additionally, they featured dazzling guitar work that announced the arrival of a major talent.

Over the next decade, recordings piled up across multiple labels. The key to this productivity was simple. Different pseudonyms allowed him to record for competing companies simultaneously. Therefore, he circumvented exclusive contracts that would have limited his output. Each label believed they had an exclusive relationship with their artist.

The roster of identities grew impressive. He recorded as “Blind Willie” for Vocalion and Bluebird. He used “Blind Sammie” for Columbia. “Georgia Bill” appeared on OKeh releases. Additionally, “Red Hot Willie Glaze” recorded for Bluebird. “Barrel House Sammy” worked for Atlantic. Finally, “Pig ‘n’ Whistle Red” cut sides for Regal Records. That last name referenced an Atlanta barbecue restaurant chain. He frequently played for tips in their parking lot.

Between 1927 and 1956, he recorded more than 120 titles across fourteen sessions. The repertoire was remarkably diverse. It included blues, ragtime, religious music, hokum, country, and popular songs. This versatility allowed him to cater to different audiences and recording scouts. Consequently, it demonstrated an ability to work across multiple styles.

The 1940 Library of Congress Sessions

In 1940, John and Ruby Lomax came to Atlanta. They were documenting American folk music for the Library of Congress’s Archive of American Folk Song. They set up recording equipment in a hotel room. Then they invited Blind Willie McTell for a two-hour session. The Lomaxes paid $10 for the session. That equals roughly $220 in today’s dollars.

These recordings captured an extraordinary range. Traditional songs like “The Boll Weevil” and “John Henry” appeared. Additionally, spirituals like “Amazing Grace” were recorded. This was material that wasn’t part of his usual street repertoire. The session revealed how his style bridged raw country blues and the more refined Piedmont sound. Therefore, he created something that belonged fully to neither tradition.

Ironically, the Lomaxes didn’t care for his style. The recordings sat unreleased in the Library of Congress archives for decades. However, when they finally emerged, they provided invaluable documentation. They showed a master musician at the height of his powers. Moreover, they demonstrated his versatility and technical command across multiple genres.

Life on the Atlanta Circuit

A regular circuit developed through the 1920s and 1930s. It included Atlanta, Augusta, Savannah, and Macon. Statesboro held special significance. It was the place where he moved with his mother. Furthermore, it was where he learned guitar during his early teens. He always considered it his true home.

Atlanta became the primary base. Specifically, Decatur Street saw him perform regularly. He often played there with Curley Weaver and other local musicians. The partnership with Weaver lasted decades. Moreover, the two musicians developed an intuitive musical communication. This served them well in street performances.

Marriage to Ruth Kate Williams came in 1934. She accompanied him on stage initially. Additionally, she appeared on several recordings. However, she trained as an army nurse in 1939. For most of their marriage, from 1942 until his death, they lived apart. She worked at Fort Gordon near Augusta. Meanwhile, he continued working around Atlanta. Years later, in a 1977 interview, she recalled his words. “He said ‘Baby, I was born a rambler. I’m gonna ramble until I die. But I’m preparing you to live after I’m gone.'” Consequently, she retired with thirty-two years of nurse training at Fort Gordon.

The Only Bluesman Who Stayed

World War II changed the blues landscape dramatically. Many prewar artists died. Others moved north to Chicago and Detroit. Some simply stopped performing and recording as the market shifted. However, one Atlanta bluesman kept working through all of it. He remained professionally active in the city well into the 1950s. In fact, he was the only blues guitarist of note from Atlanta to maintain such continuous presence.

Street performing continued to provide income. Decatur Street audiences knew him well. The regular spots provided steady if modest earnings. These included restaurant parking lots and busy corners. The work was physically demanding. Moreover, it required constant adaptation to weather, crowds, and competition. Nevertheless, it offered freedom and connection to audiences that studio recording couldn’t replicate.

Later Recordings and Final Years

In 1949, Ahmet Ertegun visited Atlanta. He was searching for blues artists for his new Atlantic Records label. He found the guitarist playing on the street. Subsequently, Ertegun arranged a recording session. Some songs were released on 78 rpm discs. However, they sold poorly. The complete session finally emerged in 1972. It was released as “Atlanta Twelve-String.” Therefore, it received the recognition it deserved decades later.

Additional recordings for Regal Records in 1949 met with similar commercial disappointment. The market had changed. Moreover, the spare acoustic sound that had seemed fresh in the late 1920s now struggled. It couldn’t find an audience in an era increasingly dominated by electric blues and early rock and roll.

Health issues mounted through the 1950s. Diabetes and alcoholism took their toll. Consequently, they limited mobility and made regular street performing increasingly difficult. In 1956, Edward Rhodes discovered him. Rhodes was an Atlanta record store owner. He found the guitarist playing in the street for quarters. Rhodes enticed him into the store with a bottle of bourbon. Then he captured thirteen final songs on a tape recorder.

These Last Session recordings were released posthumously. Prestige/Bluesville Records issued them. They captured a mix of blues, spirituals, and spoken anecdotes. The voice was weathered. Additionally, the guitar playing showed the effects of declining health. Nevertheless, the essential artistry remained intact. The recordings serve as a poignant final statement.

A Turn Toward Faith

Beginning in 1957, music took a different direction. Blind Willie McTell became a preacher at Mt. Zion Baptist Church in Atlanta. Consequently, he focused exclusively on religious music during the final years of his life. Street corners and clubs were abandoned for the pulpit. Moreover, secular blues was replaced by gospel and hymns. This wasn’t unusual among blues musicians. Many found their way back to the church as they aged. Therefore, they reconciled their musical careers with their faith.

On August 19, 1959, a stroke ended his life. He died at Milledgeville State Hospital. He was sixty-one years old. Burial took place at Jones Grove Church near Thomson, his birthplace. Later, a fan paid to erect a gravestone. The name given on the marker is Willie Samuel McTier. This was his birth name. Therefore, it provided a final recognition of the man behind the many recording pseudonyms.

Influence That Spans Generations

Recognition grew steadily after death. In 1981, the Blues Foundation inducted him into the Blues Hall of Fame. This officially acknowledged his contributions. The Georgia Music Hall of Fame followed in 1990. These honors reflected growing appreciation. He had never achieved major commercial success during his lifetime. Nevertheless, his influence proved enduring.

“Statesboro Blues” became his most famous composition. However, it wasn’t in its original form. Taj Mahal recorded a version in 1968. It featured Jesse Ed Davis on slide guitar. Then the Allman Brothers Band released their electrifying cover in 1971. It opened their legendary “At Fillmore East” live album. Consequently, that version introduced the song to rock audiences. It cemented its status as a blues-rock standard.

Bob Dylan paid tribute on multiple occasions. His 1983 song “Blind Willie McTell” features a memorable refrain. It states “And I know no one can sing the blues like Blind Willie McTell.” Additionally, Dylan recorded covers of “Broke Down Engine” and “Delia.” These appeared on his 1993 album “World Gone Wrong.” The line “had to go to Florida dodging them Georgia laws” in Dylan’s “Po’ Boy” comes directly from “Kill It Kid.”

Other artists were influenced by this Georgia master. These include Taj Mahal, Alvin Youngblood Hart, Chris Smither, Jack White, and the White Stripes. British folk singer Ralph McTell changed his surname after hearing “Statesboro Blues.” He was so struck by the music that he adopted the name as tribute. Additionally, the Bath-based band Kill It Kid took their name from one of his songs.

Preserving the Legacy

A blues bar in Atlanta bears his name. Moreover, it regularly features blues musicians and bands. This keeps his music alive in the city where he spent most of his career. The Blind Willie McTell Blues Festival is held annually in Thomson, Georgia. Consequently, it brings musicians and fans together to celebrate his contributions.

In 1996, David Fulmer released “Blind Willie’s Blues.” Fulmer was a novelist and former music journalist. The 53-minute documentary covered his life, times, and music. It featured interviews with several experts. These included African-American history professor Daphne Duval Harrison and blues musician Taj Mahal. Additionally, guitarist Stefan Grossman and Atlantic Records founder Ahmet Ertegun appeared. His former brother-in-law Rev. A.J. Williams and Edward Rhodes (who recorded the Last Session) also contributed. In late 2023, the Southeastern Folklife Collection at Valdosta State University remastered the film. Therefore, it became available for streaming on YouTube.

A statue stands in Statesboro, Georgia. It’s located at the entrance of the Statesboro Convention and Visitors Bureau. The statue honors the musician who considered the town his true home. Consequently, this physical monument ensures that new generations discover the guitarist.

Technical Innovation and Lasting Impact

The fingerpicking patterns were extraordinarily advanced. Fellow musicians often struggled to replicate his arrangements. Recordings reveal technical precision. Moreover, they showcase expressive slide work rarely matched in the Piedmont blues tradition. He could seamlessly combine solid moving bass lines with spontaneous shimmering runs. This set a standard that guitarists still study today. Furthermore, they attempt to master these techniques.

His catalog continues to inspire musicians across genres. These include folk, rock, and blues artists. They draw on his melodic approach, storytelling, and impeccable guitar technique. The influence extends far beyond direct covers of his songs. Additionally, the twelve-string techniques became influential. The smooth vocal delivery mattered. Furthermore, the fusion of ragtime and blues became part of the vocabulary. Subsequent generations drew upon all of these elements.

He never produced a major hit record during his lifetime. Moreover, he spent decades playing on street corners for tips. He battled health issues. Additionally, he never lived to see the blues revival that would have celebrated him. Nevertheless, this blind guitarist from Georgia created a body of work that endures. The music remains instantly recognizable. It is bright, rhythmic, intricate, and deeply expressive. That sound was developed on the streets of Atlanta. Furthermore, it was captured in recording studios across the South. It continues to move listeners and inspire musicians. Nearly seven decades have passed since his death. However, his influence remains strong.

Give a listen to some Blind Willie McTell classics