The Piedmont blues (also known as Piedmont fingerstyle or East Coast blues) is a type of blues music characterized by a fingerpicking approach on the guitar in which a regular, alternating thumb bass string rhythmic pattern supports a syncopated melody using the treble strings generally picked with the fore-finger, occasionally others. The result is comparable in sound to piano ragtime or later stride. The Piedmont style is differentiated from other styles (particularly the Mississippi Delta style) by its ragtime-based rhythms which lessened its impact on later electric band blues or rock 'n' roll, but it was directly influential on rockabilly and the folk revival scene. It was an extremely popular form of African-American dance music for many decades in the first half of the 20th century.

The basis of the Piedmont style began with the older "frailing" or "framming" guitar styles that may have been universal throughout the South, and was also based, at least to some extent, on formal "parlor guitar" techniques as well as earlier banjo playing, string band music, and ragtime. Varieties of the older styles can be heard in players such as Peg Leg Howell and the Hicks brothers from Georgia, plus various musicians from other areas, including Mississippi's John Hurt, Frank Stokes (from Memphis), and Mance Lipscomb (from Texas)--but if one is going to group musicians into regional styles, these clearly cannot be classed as Piedmont players. What was particular to the Piedmont was that a generation of players adapted these older, ragtime-based techniques to blues in a singular and popular fashion, influenced by such guitar virtuosi on records as Blind Blake and Gary Davis (as well as less-recorded masters like Willie Walker).

The Piedmont blues typically refers to a greater geographical area than the Piedmont plateau, which mainly refers to the East Coast of the United States from about Richmond, Virginia to Atlanta, Georgia. Piedmont blues musicians come from this area, as well as Maryland, Delaware, West Virginia, Pennsylvania and northern Florida, eastern Tennessee, Kentucky, and Alabama - later the Northeastern cities like Boston, Newark,NJ or New York. Recording artists such as Blind Blake, Josh White, Buddy Moss, and Blind Boy Fuller helped spread the style on the strength of their sales throughout the region... there were others on record of lesser impact, plus hundreds who never got into a studio. It was a nationally popular commercial Black musical form for over two decades in the early twentieth century from about the mid-20's through to the mid-40's judging from record sales and their substantial influence: Blind Boy Fuller's 1940 recording of "Step It Up & Go" apparently sold over half a million copies to both Blacks and Whites. This one style essentially overrode all other local styles over a vast area of the American South East, finding national favor among Black record buyers and party-goers.

Eugene "Buddy" Moss (Jan 16, 1914 – October 19, 1984) was, in the estimation of many blues scholars, the most influential East Coast blues guitarist to record in the period between Blind Blake's final sessions in 1932 and Blind Boy Fuller's debut in 1935. A younger contemporary of Blind Willie McTell and Curley Weaver, Moss was part of a near-legendary coterie of Atlanta bluesmen, and one of the few of his era lucky enough to work into the blues revival of the 1960s and '70s. A guitarist of uncommon skill and dexterity, he was a musical disciple of Blind Blake, and may well have served as an influence on Piedmont-style guitarist Blind Boy Fuller. Although his career was halted in 1935 by a six-year jail term, and then by the Second World War, Moss lived long enough to be rediscovered in the 1960s, when he revealed a talent undamaged by time or adversity. (Wiki)

This is "Going to Your Funeral In A Vee Eight Ford" by Buddy Moss (sorry for the statics)

Read also:

• Music dictionary
• Otis Reeding - (Sittin' On) The Dock of the Bay