RILEY PUCKETT
Riley Puckett (1894–1946) was one of the most accomplished guitarists and singers of the early country era. Blind from childhood, he first gained national recognition as a member of Gid Tanner and the Skillet Lickers before establishing a successful solo career. His recordings reveal a remarkably sophisticated guitar style built on alternating bass, walking bass lines, passing chords, and inventive chord voicings, all delivered with exceptional rhythmic precision. Admired by both contemporaries and later generations of musicians, Puckett helped define the possibilities of solo country guitar during the 1920s and 1930s.
DARK TOWN STRUTTERS BALL
Recorded April 16, 1930 — Atlanta, Georgia
Matrix: 150246-2 - Columbia 15491-D
"Dark Town Strutters Ball" is Riley Puckett's spirited interpretation of the classic jazz standard that had been popular since the 1910s. Adapting the song to his own country style, Puckett delivers an energetic performance supported by a confident alternating-bass accompaniment, fluid chord transitions, and syncopated rhythmic accents. The result demonstrates both his versatility and his remarkable ability to transform popular songs into convincing solo country guitar performances.
DON'T TRY IT FOR IT CAN'T BE DONE
Recorded October 22, 1928 — Atlanta, Georgia
Matrix: 147257-2 - Columbia 15286-D
"Don't Try It For It Can't Be Done" is a reflective waltz that showcases Riley Puckett's refined sense of rhythm and accompaniment. His steady alternating bass, fluid chord transitions, and relaxed vocal delivery create a performance that feels both effortless and deeply musical. Like many of his recordings, the guitar never calls attention to itself, yet its subtle sophistication is central to the song's enduring appeal.
K.C. RAILROAD (GOING DOWN THAT ROAD FELLING BAD)
Recorded March 30, 1934 — San Antonio, Texas
Matrix: 82711-1 - Bluebird B-5418
"K.C. Railroad (Going Down The Road Feeling Bad)" is Riley Puckett's spirited take on one of the great railroad songs of the American folk tradition. His guitar accompaniment is driven by a confident alternating bass, fluid bass runs, and impeccably timed chord changes that give the performance its irresistible forward momentum. Blending country, blues, and folk influences, Puckett transforms a familiar traditional song into a masterclass in solo country guitar accompaniment.
CAN'T PUT THAT MONKEY ON MY BACK
Recorded February 1, 1934 — Rock Hill, South Carolina
Matrix: 031916-1 - Bluebird B-5421
“Can’t Put That Monkey On My Back” is a lively, blues-tinged number that shows Riley Puckett at his most rhythmically playful. The vocal has an easy, conversational quality, while the guitar keeps the performance moving with a loose, syncopated feel and the kind of subtle rhythmic variation that makes Puckett’s solo work so distinctive.
CAROLNA SUNSHINE GIRL
Recorded August 8, 1935 — Atlanta, Georgia
Matrix: 94370-1 - Bluebird B-6131
“Carolina Sunshine Girl” is a warm, sentimental performance that highlights the gentler side of Riley Puckett’s repertoire. His relaxed singing and finely controlled accompaniment give the song an easy, flowing quality, with the guitar closely following the shape and phrasing of the vocal rather than simply providing a rhythmic background.
THE ISLE OF CAPRI
Recorded August 8, 1935 — Atlanta, Georgia
Matrix: 94368-1 - Bluebird B-6131
“The Isle of Capri” was a popular song of the 1930s that found its way into Riley Puckett’s remarkably varied repertoire. His version strips away the orchestral character associated with many contemporary recordings, recasting the song as a simple voice-and-guitar performance. The result shows how naturally Puckett could adapt popular material to his own distinctive style.
NINE HUNDRED MILES FROM HOME
Recorded April 16, 1930 — Atlanta, Georgia
Matrix: 150243-2 - Columbia 15530-D
“Nine Hundred Miles From Home” is Riley Puckett’s version of the traditional railroad song better known simply as “Nine Hundred Miles.” His solo treatment is direct and unadorned, with the guitar supporting the song’s sense of distance and loneliness. Puckett’s characteristic rhythmic phrasing gives the familiar material a distinctly personal shape.
THOUGH YOU'RE NOT SATISFIED WITH ME
Recorded February 1, 1939 — Rock Hill, South Carolina
Matrix: 031917-1 - Bluebird B-8064
“Though You’re Not Satisfied With Me” is a sentimental Riley Puckett performance centered on romantic disappointment and resignation. The straightforward vocal and restrained guitar accompaniment give the song an intimate quality, allowing the melody and lyrics to carry most of the emotional weight.
WHEN I HAD BUT FIFTY CENTS
Recorded September 12, 1924 — New York, New York
Matrix: 140028-1 - Columbia 15004-D
“When I Had But Fifty Cents” is an old comic song about courtship, money and the consequences of trying to impress someone on a very limited budget. Riley Puckett’s version brings the nineteenth-century song into the early country repertoire, pairing its humorous narrative with his characteristically direct voice-and-guitar accompaniment.
SOMEWHERE IN OLD WYOMING
Recorded December 8, 1930 — Atlanta, Georgia
Matrix: 151094-1 - Columbia 15610-D
“Somewhere in Old Wyoming” is a sentimental western song built around longing for the open country and a distant home. Riley Puckett gives the material an intimate treatment, stripping the western imagery down to voice and guitar and letting the melody carry the song’s nostalgic character.
WHEN IRISH EYES ARE SMILING
Recorded February 1, 1939 — Rock Hill, South Carolina
Matrix: BS-031923-1 - Bluebird B-8144
“When Irish Eyes Are Smiling” was already a widely known popular standard by the time Riley Puckett recorded it in 1939. Written by Chauncey Olcott and George Graff Jr., with music by Ernest R. Ball, the song dates from 1912–13. Puckett’s version is a good example of the remarkably broad popular repertoire he brought into a country setting, far beyond the traditional and hillbilly material with which he is usually associated.
MOONLIGHT ON THE COLORADO
Recorded December 5, 1930 — Atlanta, Georgia
Matrix: W151049-1 - Columbia 15631-D
“Moonlight on the Colorado” was a new popular song when Riley Puckett recorded it in late 1930. Written by Robert A. King and Billy Moll, it is a nostalgic waltz about distance, memory and a promised reunion. Puckett’s recording illustrates how readily he drew contemporary popular songs into his repertoire, alongside older ballads and traditional material.
