1928 SESSIONSIn almost diametrical opposition to the raw, boisterous styles of other Delta bluesmen of the same period, Mississippi John Hurt sings and plays in a quiet, understated, and frankly beautiful manner. Whereas Charlie Patton and Robert Johnson impress with pyrotechnically rhythmic fretwork and gutsy, dramatic vocal performances, Hurt's deft, strictly metrical guitar style and hushed but nuanced and sensitive voice dazzle in their own way. A farmhand in
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