Curley Weaver, who was known for much of his life as "the Georgia Guitar Wizard," is only just beginning to be appreciated as one of the best players ever to pick up a six-string instrument. Although he recorded a fair number of sides on his own during the 1920s and '30s, Weaver was most commonly heard in performances and recordings in association with his better-known colleagues Blind Willie McTell (with whom he worked from the 1930s until the early '50s), Barbecue Bob, and Buddy Moss. Weaver was born in Newton County, GA, in Covington, and was raised on a cotton farm. His mother, Savanah Shepard, encouraged him to sing from a very early age and also taught him to play the guitar, beginning when he was ten-years-old.

Curley Weaver, who was known for much of his life as "the Georgia Guitar Wizard," is only just beginning to be appreciated as one of the best players ever to pick up a six-string instrument. Although he recorded a fair number of sides on his own during the 1920s and '30s, Weaver was most commonly heard in performances and recordings in association with his better-known colleagues Blind Willie McTell (with whom he worked from the 1930s until the early '50s), Barbecue Bob, and Buddy Moss. Weaver was born in Newton County, GA, in Covington, and was raised on a cotton farm. His mother, Savanah Shepard, encouraged him to sing from a very early age and also taught him to play the guitar, beginning when he was ten-years-old. Savanah Shepard was a renowned guitarist in her own right around Newton County, and also taught guitar legends Barbecue Bob and his brother, Charlie Lincoln, to play the instrument when they were children. Her musical interests lay in gospel but, as in the case of Hicks and Lincoln, her son gravitated in the opposite direction, toward the blues. Curley Weaver learned to play slide guitar from two legendary (and, alas, never recorded) local bluesmen, Nehemiah Smith and Blind Buddy Keith. He showed extraordinary aptitude and, at age 19, teamed up with harmonica player Eddie Mapp, and moved to Atlanta. There he hooked up with Barbecue Bob and Charlie Lincoln, who quickly showed their younger friend the ins-and-outs of life, busking on Decatur Street, the heart of Atlanta's black entertainment district, with its bars, restaurants, clubs, and theaters.

The association between the three guitarists was to prove providential. Barbecue Bob emerged as a local star first and, as a consequence, was also the first to go into the recording studio for the Columbia Records label in 1927 -- his first releases sold well, and he, in turn, arranged for his brother and Curley Weaver to make their debuts in the studio the following year. Weaver paid his first visit to the recording studio in Atlanta on October 26, 1928, laying down two tracks, "Sweet Petunia" and "No No Blues." Weaver's debut led to more recording work, both as a solo act and in the company of Eddie Mapp, as well as Barbecue Bob. It was also through the recording studio, appearing as the Georgia Cotton Pickers in association with Barbecue Bob, that Weaver first made the acquaintance of Buddy Moss, a 16-year-old harmonica player who learned guitar from Weaver and Bob and later emerged as a major star on the instrument himself. The two were to work together throughout the decade.

Although many of Weaver's recording sessions in the 1930s were in New York, he kept his home base in Atlanta for his entire life, and it was while playing at clubs, parties, dances, picnics, and even on street corners in the early part of the decade that he struck up the most important professional relationship of his life, with Blind Willie McTell. A renowned 12-string guitarist, McTell had begun his recording career in 1927, and was a local legend around Atlanta. The two played and recorded together for 20 years or more, and comprised one of the most important and celebrated East Coast blues teams in history. Weaver's most renowned recordings were done in association either with McTell or Moss, the latter under the guise of the Georgia Browns, during the mid-'30s. His playing, either on its own or in association with either McTell or Moss, was nothing less than dazzling. It wasn't possible for Weaver to sustain his brilliance, though not for lack of his ability or trying. The mid-'30s were a trying time for most blues players. The boom years of the late teens and very early '30s had seen lots of opportunities to perform and record. The Great Depression destroyed much of the marketplace that had led to these successes, and sales by the mid-'30s had, for most bluesmen, dried up considerably from their former levels, and most labels cut back on the chances they were offering to record.

For Weaver, the decade was an even more bitter period. Barbecue Bob had died of pneumonia at the beginning of the 1930s. Eddie Mapp was killed, and Buddy Moss ended up in prison at age 21 on a five-year stretch that, essentially, halted his career permanently. Weaver continued playing with McTell across the South, but the onset of the Second World War saw even a lot of this activity dry up. He continued to play around Atlanta, and in 1950 cut an album's worth of material with McTell for the Regal label. He continued playing whenever he could, and was reunited with Buddy Moss in a trio that performed in northern Georgia but never recorded. Weaver's performing career was brought to a halt only by the failure of his eyesight. He passed away three years later, in 1962, remembered around Atlanta and by serious blues enthusiasts elsewhere, but largely unheralded during the blues revival that he'd just missed being a part of.

Curley Weaver was, by virtue of his virtuosity and the associations that he kept throughout his life and career, a guitarist's guitarist, a virtuoso among a small coterie of Atlanta-based guitar wizards. He never had the renown of Blind Willie McTell, but he was Willie's equal and match in just about every conceivable respect as a player and singer, his six-string being perfectly mated to Willie's 12-string. When he was playing or recording with McTell, Buddy Moss, or Barbecue Bob, the results were the blues equivalent of what rock people later would've called a "super-session" except that, as a listen to the surviving records reveals, the results were more natural and overpowering -- these guys genuinely liked each other, and loved playing together, and it shows beyond the virtuosity of the music, in the warmth and elegance of the playing and the sound. ~ Bruce Eder, All Music Guide