Determining and selecting who deserves to be on the list of the most influential blues artists of all time is a daunting task. This list will no doubt generate discussion and perhaps even some heated debate. What I have compiled here is the result of decades of countless hours of listening, reading and much research. As you might suspect it was extremely difficult to limit the list to only fifty. The list is based on the artist's innovations, influence and impact on the music. We begin with my top ten and then continue with the other forty. The artists appear in order of their birth date. The main source being The All Music Guide To The Blues (Miller Freeman Books).

The Top Ten

(In order of birth date)

Charley Patton (1887 - 1934)

The man credited with first popularizing the Mississippi Delta blues, Patton was a consummate showman and his singing and guitar playing defined the style that would become known as Delta blues. His playing was intense, primal and rhythmic. He pretty much started it all.

Blind Blake (early 1890s - 1933)

What Charley Patton was to Delta blues, Blind Blake was to the Piedmont blues tradition. He was an absolute master of the guitar. He set the standard for the sophisticated ragtime influenced finger picking that became prevalent with players up and down the eastern seaboard. He was one of the blues men who actually sold a lot of records and achieved success and popularity in his own lifetime.  

Blind Lemon Jefferson (1897 - 1929)

This Texas troubadour's influence permeated throughout the country through his many travels and recordings. He is credited with being the first recorded artist to utilize guitar solo as fills between his vocal verses. His presence is felt in most guitarists that followed.

Lonnie Johnson (1899 - 1970)

Born in New Orleans, Johnson's innovative approach to the guitar was way ahead of its time. The first guitarist to record fully realized and melodic solos, he influenced everyone from Robert Johnson to T-Bone Walker. His talent also carried over to the jazz scene. Johnson recorded with such luminaries as Louis Armstrong and Duke Ellington.

Louis Jordan (1908 -1975)

This singer/saxophonist bridged the gap between the big band swing and r&b. He took swing music and put it in a small combo context. His jump blues records during the '40s helped popularize the genre more than any other previous artist. From 1942 to 1951, Jordan's recordings hit the r&b charts an astonishing fifty seven times. He had a profound influence on everyone from B.B. King to Little Walter.

T-Bone Walker (1910 - 1975)

Considered the "Father of Electric Blues Guitar," Walker is the first person to utilize the electric guitar as a solo instrument in the blues. A smooth singer, as well as guitarist, Walker was also a classy and flashy showman. His records greatly inspired a young B.B. King and every electric blues guitarist owes a debt to Walker. His "Stormy Monday Blues" is one of the classic standards of the genre.

John Lee "Sonny Boy" Williamson (1914 -1948)

The "original" Sonny Boy Williamson (Rice Miller would later steal the nickname for his own) was the first artist to utilize the harmonica as a solo instrument. His recordings helped define the small combo Chicago blues sound during the late '30s and '40s. Every blues harp player owes Williamson a debt, as his innovations paved the way and influenced all that followed, particularly important, a young Little Walter.

Muddy Waters (1915 - 1983)

The main architect of post-war Chicago blues, McKinley Morganfield, better known as Muddy Waters, defined and shaped the electrification of the Delta blues with its move north, setting the standard for those that followed. His band was a starting point for many legendary performers through the years, including Little Walter and Otis Spann. The Rolling Stones took their name from one of Muddy's songs.

B.B. King (1925 - )

The most important and beloved ambassador of the blues is Riley "B.B." King. His wailing voice, distinctive guitar style, and classy approach have done more than anyone to spread the blues to the masses. His bending of the guitar strings and trademark "hummingbird" vibrato has been copied by countless guitar players, too numerous to mention.

Little Walter (1930 - 1968)

Marion Walter Jacobs took what he learned from both Sonny Boy Williamsons, combined that with the swinging horn lines of Louis Jordan, and revolutionized the sound of the blues harp. His phrasing, techniques and innovative use of amplification absolutely set the standard for blues harmonica and he is considered the master of the instrument. What Charlie Parker was to Jazz saxophone, Little Walter was to blues harp.

The Rest of the Top Fifty

(In order of birth date)

W.C. Handy (1873 - 1958)

Considered the "Father of the blues," Handy first heard the blues being played by a lone bluesman at the railroad depot in Tutwiler, Mississippi in 1903. Handy obviously did not create the blues, but he is the first person to publish a composition with the term "blues" in the title and utilizing "blue notes" (flatted thirds and sevenths). The song, "Memphis Blues," published in 1912, along with his famous "St. Louis Blues" two years later, first brought the genre to the mass public.

Mamie Smith (1883 - 1946)

This is the woman who started it all as far as blues on record. Her "Crazy Blues" is considered the first blues recording ever. The record sold an incredible million copies in the first six months. This success opened the floodgates, as record labels and talent scouts began to scour the country for more blues singers to record.

Gus Cannon (1885 - 1979)

Cannon bridged the gap between early blues and the Folk and minstrel styles that preceded it. He was the man, along with his band Gus Cannon's Jug Stompers featuring legendary harpist Noah Lewis, that helped start and define the early Jug band style, prevalent in Memphis in the '20s and '30s.

Ma Rainey (1886 – 1939)

Considered the "Mother of the Blues," Rainey was instrumental in bringing blues music into the vaudeville tradition. She was a mentor to many of the classic female blues singers who followed. She had been performing the blues for twenty years before her first recording in 1923. She would go on to record with such blues legends as Blind Blake and Tampa Red, along with jazz greats Kid Ory and Louis Armstrong.

Leadbelly (1888 - 1949)

Huddie Ledbetter, better known as Leadbelly, was the first blues artist to achieve fame with White audiences. Many of the compositions from his extensive songbook have become classics of folk, blues and popular music. After Leadbelly's release from prison in 1934, Alan Lomax recorded a multitude of his performances for the Library of Congress. One of the first bluesmen to travel to Europe, his songs "Goodnight Irene," Midnight Special," and “Rock Island Line," among others, were a profound influence on the skiffle craze in England and the subsequent blues scene there.

Big Bill Broonzy (1893 - 1958)

Broonzy, through the years, was a most versatile performer, being equally adept at solo acoustic Folk-style, Ragtime, and early urban small combo Chicago blues. He was one of the first artists to spread the blues overseas, in addition to being a major force and mentor to many fellow blues artists stateside. Broonzy was an exceptional guitarist, fine singer and exceptional songwriter.

Mississippi John Hurt (1893 - 1966)

This gentleman was an anomaly of sorts in that he was from the Delta region, but his guitar playing had much more in common with the more sophisticated finger picking of Piedmont style blues. He recorded a few sides in 1928, but was out of the music business until his rediscovery in 1963. He became one of the most beloved of bluesmen in the '60s folk-blues resurgence, influencing a horde of aspiring guitarists in the college and coffeehouse circles.

Bessie Smith (1894 - 1937)

Smith is the woman who best defines the term "classic" blues singer. She earned the title of "Empress of the blues" with her sassy, bold songs which earned the respect of both blues and jazz artists. The finest musicians performed behind her, helping to create an exceptional body of work before her tragic death. Her swagger, style and strong, passionate voice epitomized what the early vaudeville style blues was all about. Most women blues singers point to Bessie as the one who set the standard.

Tommy Johnson (1896 - 1956)

Along with Charley Patton and Son House, Tommy Johnson was one of the pioneering Delta blues artists. His characteristic vocal growl which could rise to an eerie falsetto howl was a big influence on both Jimmie Rodgers (the "Father of Country Music") and fellow bluesman Howlin' Wolf. His songs' structures, including "Cool Water Blues," "I Asked For Water (She Brought Me Gasoline), "Maggie Campbell" and "Canned Heat Blues," found their way into many other artists' repertoires.

Reverend Gary Davis (1896 - 1972)

In the late '20s, Davis was one of the main practitioners of the Piedmont ragtime style guitar picking, being a great influence on Blind Boy Fuller and many others. His career received a huge boost during the '60s folk-blues boom, due to his exceptional guitar technique and thoughtful songwriting. He was a huge inspiration to Bob Dylan, Taj Mahal, Jorma Kaukonen, and Ry Cooder.

Rice (Sonny Boy Williamson II) Miller (1899 -1965)

Aleck Ford "Rice" Miller was older than the original Sonny Boy Williamson, but decided to take on the same nickname, due to the original's great success. As a result of Miller’s exposure on the famous King Biscuit show in Helena, Arkansas, his notoriety eventually eclipsed that of the original Sonny Boy. Miller influenced such blues legends as Howlin' Wolf, Little Walter and James Cotton, who all learned directly from him. Outside of Little Walter, he is probably the most imitated blues harp player ever.

Son House (1902 - 1988)

Eddie "Son" House was simply the most intense sounding blues artist of all-time. A contemporary of Charley Patton and Willie Brown, his pioneering Delta blues sound directly influenced such musicians as Robert Johnson, Howlin'Wolf, and most importantly, Muddy Waters, who cited House as his biggest inspiration. Son's pounding rhythmic guitar and anguished vocals were a window into his tortured soul. He epitomized what the Mississippi Delta blues was all about.

Tampa Red (1904 - 1981)

Hudson Whittaker, better known as Tampa Red, was a prolific recording artist and talented guitarist. His smooth slide guitar style and sly lyrics made him one of the most popular bluesmen of the early Chicago blues scene. Earning the nickname of  "The Guitar Wizard," Tampa Red penned many songs that have become classics, including "It Hurts Me Too" and "Black Angel Blues" (which B.B. King later reworked as "Sweet Little Angel"). He also helped create what became known as hokum with its humorous, double-entendre lyrics.

Pete Johnson (1904 - 1967)

Along with Albert Ammons and Meade Lux Lewis, Pete Johnson was one of the kings of boogie-woogie piano. A mainstay of the vibrant Kansas City blues scene, he often recorded with blues shouter Big Joe Turner. In fact, the pairing of the two on John Hammond's Spirituals To Swing Carnegie Hall concert in 1938 ignited a renewed boogie-woogie craze which swept the nation.

Pinetop Smith (1904 - 1929)

Clarence "Pinetop" Smith was one of the most influential blues figures of the late '20s. His song "Pinetop's Boogie Woogie" was the very first song with the term “boogie woogie” in the title. The song’s lyrics and stop-time arrangement became the template for many subsequent piano boogie-woogie workouts. The beloved Joe Willie “Pinetop” Perkins not only borrowed the style, but also the nickname, as well as this song, and kept the flame burning for the next eight decades.

Leroy Carr (1905 - 1935)

Carr is one of the least appreciated bluesmen today compared to his impact on the music of his time. With his partner, guitarist Scrapper Blackwell, Carr waxed some of the finest blues compositions ever, while utilizing sly lyrics, a smooth voice and excellent piano work. He was instrumental in implementing a new sophistication and urbane approach to the country blues that came before. His "How Long How Long Blues" was just one song that influenced many others including T-Bone Walker, Charles Brown and anyone who understood that uptown sophistication and the blues are not mutually exclusive.

Roosevelt Sykes (1906 - 1983)

Sykes' pioneering barrelhouse and boogie-woogie piano playing, along with his smart and fun lyrics, influenced just about every piano player that has ever played a blue note. His huge presence was felt in both the St. Louis and Chicago blues scenes. "44 Blues," "Driving Wheel," and "Night Time Is The Right Time" are all classic examples of his excellent work.

Blind Boy Fuller (1908 - 1941)

Fuller took what Blind Blake started and became one of the most influential and popular Piedmont bluesman of all time. A talented, versatile guitarist and expressive singer, he recorded an impressive amount of material over a short period of time.

Howlin' Wolf (1910 - 1976)

Chester Arthur Burnett, better known as Howlin' Wolf, was a Delta musician who waxed some incredible sides in Memphis for Sam Phillips.  They were an unbelievable mixture of raw and primal country blues combined with jump blues. After his move to Chicago, and with the help of Willie Dixon's songwriting, Wolf became the main rival of Muddy Waters for domination of the Windy City blues scene in the '50s and into the '60s. His gravelly, powerful voice and flamboyant stage presence was incomparable.

Robert Johnson (1911 - 1938)

Johnson took the raw, rhythmic immediacy of the Delta blues that Charley Patton and Son House began, absorbed the influences and innovations of more sophisticated stylists like Lonnie Johnson, and created the most ingenious blend of Country blues guitar ever. He was the first guitarist to expertly incorporate boogie-woogie piano bass lines underneath his finger-picking and slide sound. He lived fast and died young, but after his material was re-released to the world in 1966, his impact was felt across the globe.

Big Joe Turner (1911 - 1985)

One of the premier blues shouters, Turner typified the ebullient sound of Kansas City's jump blues sound. His big, smooth baritone voice, soaring over swingin' boogie-woogie rhythms, would later became a mainstay of the West Coast scene and was a precursor to what would become known as rock & roll, as exemplified by his "Shake, Rattle & Roll."

Lightnin' Hopkins (1912 - 1982)

Hopkins was the most recorded blues artist of all time. During his long and prolific career Sam Hopkins comfortably bridged the gap between acoustic country blues and the urban blues of his home turf of Houston, Texas. With his deep, evocative voice and deft guitar playing, Hopkins always did things his way and was one of the most respected artists of the blues.

Willie Dixon (1915 - 1992)

Big Willie Dixon's presence was profound. With his multiple roles as bassist, arranger, talent scout, and especially songwriter, Dixon played a huge part in creating what has become known and loved as Chicago blues. This poet laureate of the blues wrote a major share of the greatest blues tunes of all time. Both Muddy Waters and Howlin' Wolf, among many others, benefited greatly from his uncanny ability to craft a song and direct recording sessions.

Wynonie Harris (1915 - 1969)

This man bore the title of "Mr. Blues" with unabashed pride and style. One of the greatest blues shouters of the popular Jump blues era of the late '40s and early '50s, Harris helped shape the sound that would become rock & roll with his combination of panache, bold sense of humor and sheer attitude. His version of Roy Brown's "Good Rockin' Tonight," along with his stage presence, had a huge impact on a young Elvis Presley, among others.

Brownie McGhee (1915 - 1996)

One of the most beloved Piedmont style guitar pickers and singers, McGhee enjoyed a long career that blossomed even greater during the '60s folk blues boom. A fine ambassador of the blues around the globe, he was an important figure both in Europe and in the States, whether he was on his own or with longtime partner, harpist Sonny Terry.

Elmore James (1918 - 1963)

Like his contemporaries from the Delta, which included Sonny Boy Williamson II, Muddy Waters and Howlin' Wolf, Elmore James played a huge role in popularizing electric Chicago blues in the '50s. His version of "Dust My Broom" has become the standard for driving slide guitar playing. James' anguished vocals and intense songs helped pave the way for anybody who has incorporated a raw, energetic edge to their blues.

Professor Longhair (1918 - 1980)

Henry "Roy" Byrd, or "Fess" as he became to be known, was a founding father of New Orleans r&b. His polyrhythmic and rollicking piano lines defined what New Orleans blues was all about. His songs like "Mardi Gras In New Orleans" and "Tipitina" have become virtual anthems of the Big Easy, leaving their mark on all that followed, including Fats Domino and Dr. John.

John Lee Hooker (1920 - 2001)

John Lee Hooker was a unique player. Only Lightnin' Hopkins may have more recordings among blues artists. Hooker’s guitar and vocal style was primal, deep and went straight to your gut and soul. This Mississippi Delta bluesman learned his style early on, mostly from his stepfather Will Moore. Throughout his career, which took him to Detroit and Chicago and eventually to California, he never wavered from his singular vision. His initial smash hit in 1948, "Boogie Chillen," with its stomping beat that became known as the endless boogie, has been imitated by countless rock and blues bands ever since.

Charles Brown (1922 - 1999)

The antithesis of John Lee Hooker, Charles Brown helped popularize the smooth, jazzy crooning ballad style of blues that Nat King Cole pioneered in the '40s. His groundbreaking "Drifting Blues," recorded in 1945 with Johnny Moore's Three Blazers, greatly influenced a bevy of artists including Amos Milburn, Floyd Dixon and a young Ray Charles. His "Black Night" and "Please Come Home For Christmas" are great examples of how Brown could create a mood that melted the soul.

Albert King (1923 - 1992)

Albert King played a huge role in bringing Memphis style soul into the blues and popularizing the genre among both blacks and whites. His relaxed vocal style, coupled with his intense string bending on the guitar, was an intoxicating mixture that would go far in bringing the blues to a much wider audience. His guitar style on songs such as his earlier "Don't Throw Your Love On Me So Strong" and later hits on Stax like "Born Under A Bad Sign" and "Cross Cut Saw,"  would find its way into the playing of many guitar players including Jimi Hendrix, Eric Clapton, Mike Bloomfield, and especially Stevie Ray Vaughan.

Slim Harpo (1924 - 1970)

James Moore, better known as Slim Harpo, was one of the most popular blues artists to cross over into the rock world. His songs "I'm A King Bee," "Baby, Scratch My Back," "Tip On In," and "Tee-Ni-Nee-Ni-Nu" defined the swamp blues based out of Baton Rouge, Louisiana.

Jimmy Reed (1925 - 1976)

Jimmy Reed had more success in crossing over to the pop charts than any other blues artist. His lazy, relaxed songs, with their infectious rhythm, seemed to hit a nerve in the record buying public during the late '50s and early '60s. His songs landed on the Pop Top 100 chart eleven times. "Baby, What You Want Me To Do," "Bright Lights, Big City," "Honest I Do," and "Big Boss Man" are just a few of his sides that have become standards of the genre.

Otis Spann (1930 - 1970)

Quite simply, Otis Spann is the man that every blues piano player who has come along since looks to as the standard. Spann had a huge role in helping Muddy Waters define the small blues combo sound of Chicago in the '50s. His playing was the epitome of how to not only back a singer, but how to add much depth, interest, rhythm and melody to the proceedings. A very underrated singer in his own right, Otis will nevertheless always be associated with the great songs he recorded with Muddy.

Albert Collins (1932 - 1993)

Known as the "The Iceman" and "The Master of the Telecaster," Albert Collins was unique, but also epitomized the Texas guitar slinger. Many guitarists have tried hard, many in vain, to duplicate his signature stinging guitar licks. Coming out of the fertile and exciting blues scene of Houston in the '50s and '60s, Albert would go on to create a fusion of infectious, horn driven blues that was always funky. Just about every blues band has a Collins style instrumental in their repertoire.

John Mayall (1933 - )

The elder statesman of British blues, perhaps no one has done more to further the blues in England than Mayall. Many illustrious Mayall alumni have gone on to greater fame after their apprenticeship in his bands. Eric Clapton, Jack Bruce, John McVie, Mick Fleetwood, Peter Green, and Mick Taylor all played with Mayall in the '60s. Later Americans Walter Trout and Coco Montoya would both hone their chops with the man.

Freddie King (1934 - 1976)

This extremely powerful singer, guitarist, and performer came out of Texas and first made his mark in Chicago in 1961 with his blend of danceable instrumentals and passionate vocal sides. King probably has done as much as anyone to attract a younger rock audience to the blues due to his fiery and energetic style. "Hideaway," "Have You Ever Loved A Woman" and "I'm Tore Down" are just a few of his classic tunes that have become standards of the genre.

Paul Butterfield (1942 - 1987)

Paul Butterfield was one of the first white musicians to gain acceptance and respect in the blues scene in Chicago of the '60s. His powerful harp playing anchored his band which also featured Mike Bloomfield and Elvin Bishop, along with ex-Howlin' Wolf sidemen Jerome Arnold and Sam Lay. This made the Paul Butterfield Blues Band one of the first integrated bands in the blues. Their first two albums proved instrumental in helping bringing the blues into the mainstream.

Johnny Winter (1944 - )

This incredibly talented guitar slinger from Texas was responsible for first exposing a multitude of aspiring young, white guitarists to the blues in the late '60s. His first album on Columbia featured both Willie Dixon and Walter "Shakey" Horton and brought an authenticity to the blues that many other white blues artists had lacked. Johnny went on to explore a more rock approach, but came back to the blues in the late '70s. Winter was responsible for producing the albums that put Muddy Waters back in the limelight, garnering the legendary bluesman his first Grammy awards.

Eric Clapton (1945 - )

Perhaps no one has turned more guitarists onto the blues than Clapton due to his huge  worldwide popularity with The Yardbirds, John Mayall, Cream and his own bands. His tone and style during his time with Mayall has become legendary, with hordes of guitarists snatching up the same equipment that he used in an attempt to recreate his sound. His From The Cradle album gave the blues a huge shot in the arm in 1994 when it was much needed, giving traditional blues songs a chance to be heard on commercial radio.

Stevie Ray Vaughan (1954 - 1990)

If there was a person more successful than Clapton in getting the blues across to the masses, it was Stevie Ray. Vaughan almost single-handedly brought the blues to the world's consciousness in the '80s. His incredible way of combining Albert King and Jimi Hendrix licks with a fresh fire and attitude spawned countless imitators. He earned the utmost respect from his mentors and his legacy is still felt strongly today.

Please feel free to respond with your own comments and suggestions and why you think they should bump someone else off my list. This list after all represents just one man’s humble opinion. Most of all, the making of this list was designed to generate interest in the blues and the people that created the music, bringing much joy to all of us blues lovers across the globe for so many years.

Editors Note: Back in 2000 I read my first on-line blues “publication.” It was called BluesWax. I am sure many of our readers here at BLUES JUNCTION remember that email based service. The founding editor of BluesWax was Don “T-Bone” Erickson. In time, BluesWax would enjoy the largest subscription base of any blues publication in the world. BluesWax is now long gone, along with it its treasure trove of archived feature articles and reviews. The Des Moines, Iowa based Erickson has recently decided to see if he could find some of those lost works in the form of original documents that he used to crank out on a regular basis back in the early 2000’s. In doing so he came across this piece, which was originally published in 2004. I would like to thank Don for sharing his work with all of us gathered here at the JUNCTION.