Having made only a handful of recordings in the company of her presumed husband A.C. Forehand, the '20s performer Blind Mamie Forehand joins a class of recording artists whose uniqueness is not in name only. While it many not have been that common for women to sing the blues professionally in the '20s, Forehand was one of many who did sing gospel and also one of the few who did manage to leave compelling documentation behind. She was an active singer of spirituals on the streets of Memphis, a venue that logically led to the stylistic classification of street-corner or storefront gospel. "Honey in the Rock" is one of the titles she recorded in 1927, and these tracks have endured not just because hazy copyright status has led to overlapping reissue documentation on an international level. In fact, due to the efforts of labels such as Wolf, it is easier to find a Blind Mamie Forehand recording in Austria than a jar of peanut butter. The actual music content is something that once heard is never forgotten; the robust singers accompanying themselves on cymbals so old one can imagine clouds of dust bursting forth with each crash.
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