aim of this guide is to fix significant positions for musical activity onto specific portions of the landscape, with a view to assisting future research. It is not intended to fulfill the tourist expectation of finding, say, that Blind Boy Fuller slept Therefore, it does not record where a particular artist appeared on one night of a whirlwind one-night tour, but if that same artist habitually played in the location for decades, it can be hoped that he or she will be found here. intention is to set down, so far as can be known at this remove, the main places where particular Appalachian musicians (specifically African Americans) were born, spent their lives, learned from others, performed, influenced others, or died. African-American churches, so important in black communities and frequently the location of significant musical activity, have been included when they could be identified definitely. There has been an attempt to date musicians' activity and to point to other locations within the guide that they may be found; suggestions for enhancing the simplicity and improving the presentation of the guide are welcomed. usual magazines and references have been consulted, albeit with inevitable omissions by the compiler, but the work also largely draws on substantial original research in the indexed census records of 1920 and 1930. definition of Appalachia chosen is that promulgated by the Appalachian Regional Commission, with the proviso that certain Virginia Piedmont and Valley cities and counties that were initially included in the region by the Appalachian Regional Commission have been reincorporated. Attempts have been made to avoid the use of abbreviations, but some are so pervasive as to require their usage. COGIC Church of God in Christ AME African Methodist Episcopal (Church) AMEZ African Methodist Episcopal Zion (Church) directory is presented alphabetically by state, then by county, and then by city. In some cases, there is additional general information that is pertinent to either a state or a county preceding the presentation of the next category. For example, the state heading is followed by information about songs that mention the state, sociological trends that influenced the music, important performers that hailed from the state, and demographic statistics; then the county listings begin. has been an important state for gospel music but, in recent decades, is less influential as a source of blues music. traditional song Alabama has the sense more of rambling than of specifically going to Alabama. Examples include Bound by Ida Cox, Papa Charlie Jackson, and Charlie Patton; Alabama by Bowlegs (Library of Congress); Alabama by Uncle Rich Brown. Apart from Alabama Bound, a number of songs mention the state, including Alabama Mis-Treater by Davenport and Carr (Okeh 8306, recorded March 11, 1926), Alabama Strut by Cow Cow Davenport and Ivy Smith (Vocalion 1253, recorded July 16, 1928), Alabama Mistreater by Cow Cow Davenport (Vocalion 1227, recorded October 25, 1928), The Blues Singer from Alabam by Bessie Brown (Brunswick 4346, recorded ca. April 1929), Alabammy Mistreated by Iva [Ivy] Smith (Gennett 7231, recorded June 7, 1930), Alabama Scratch by the Harum Scarums (Paramount 13054, recorded ca. January 1931), Alabama Hustler by Sam Tarpley (Gennett unreleased, recorded August 30, 1930, and Paramount 13062, recorded ca. January 1931), and I've Got a Man in the 'Bama Mines by Sweet Pease Spivey (Bluebird B-7224, recorded October 11, 1937), which inspired Jazz Gillum's answer, I'm That Man Down in the Mine (Bluebird B-7718, recorded June 16, 1938). Although the ravages of the boll weevil were ultimately felt harder through the Black Belt of central than in most other locations, they came later than in states to the West and did not reach a peak until around 1922. …