by Barry Lee PearsonAlthough the mandolin is not an instrument commonly associated with Chicago blues, it has been used by Chicago-based string bands or on Chicago-made recordings by artists such as Carl Martin, Charles and Joe McCoy, and Yank Rachell. However, the only artist to use it successfully in the later electric blues format was Mississippi-born bluesman Johnny Young. An important figure in blues history, Young loved the rough-and-tumble string-band tradition of the Delta, a style that readily coexisted with blues.Youngs initial 1947 Chicago classic, Money Taking Women, exhibits the same exuberant down-home sound, fusing blues with the older country breakdown traditions. The string-band ensemble sound suited street performance as well, whether in Memphis or in Chicagos open-air Maxwell Street Market, where Young and his cronies were brought in off the streets to record. Over the years, Youngs mandolin activity declined as Chicagos African-American blues audience demanded a more modern and urban sound. Since Young was also a skilled guitarist and a fine vocalist, he easily weathered the transition. During the late 60s, an emerging White blues-revival audience proved eager for Youngs mandolin styling. Unlike Yank Rachell, whose mandolin playing retained an older string-band feel, Youngs style was firmly grounded in a more contemporary postwar blues idiom, and he interacted well with other electric blues artists. Through his life, he had worked with the major figures of blues history, including Sonny Boy Williamson, Muddy Waters, Walter Horton, and Otis Spann. He was, he insisted, born to be a musician. When I interviewed him shortly before he died, he told me how he had struggled all his life trying to make it in the music business. An emotional man, he hoped he would live long enough to make enough money to buy a house. He never made it.\r