“Where Dead Voices Gather,” by Nick Tosches (Little, Brown and Company, 2001)
Tosches writes about the Cofer Brothers (The Georgia Crackers), who recorded in the 1920’s:
In its own rough-hewn way, this hillbilly string band, from predominantly black Hancock County in central Georgia, echoes the same sources that informed their more sophisticated contemporary Jimmie Rodgers and his black counterparts: the motes of vaudeville, minstrelsy, and the black songster tradition aswirl in the effulgence of that beautiful thievery that in the hands of one became the blues, in the hands of another country music.
It was the nineteenth-century fiddle-based string bands, black and white, through which the mongrel motes swirled. It was the symbiosis and synergy and estuary of those nineteenth-century fiddle-based string bands, black and white, that brought forth, simultaneously, before the ascendancy of the guitar, what came to be called the blues and country music. It was the music of those nineteenth-century fiddle-based string bands, black and white, that was the true indigenous and autochthonous sound of the nineteenth century South, mother and wild bride and fickle daughter, enticer and enticed of all that swirled, of that eventual bastard song, neither black nor white, both black and white, of the midnight bottomlands crossroads and the great lighted dazzling of Broadway alike.