ZINGY STRINGS

In this feature, The Times’ pop-music writers spotlight out-of-the-way albums of special merit. Album: “Louie Bluie” (Arhoolie).

History: Anyone who caught that irrepressible rapscallion Howard Armstrong in the delightful documentary film “Louie Bluie” last year will cherish this sound-track album. There are only snatches of the 75-year-old’s earthy repartee, but the record offers an invaluable glimpse into the often overlooked black string-band tradition.

The string bands were all-acoustic outfits that employed combinations of guitar, violin, mandolin, banjo and string bass. They were popular in the South throughout the ‘20s and ‘30s, with a repertoire that often duplicated the songs and styles performed by early white country groups.

According to Marty Pahls’ informative liner notes, the record industry created an artificial barrier by recording white bands for their “hillbilly” catalogue and pushing black musicians toward the jazz, blues and gospel styles that were the backbone of the “race records” market.

Sound: Armstrong--a.k.a. Louie Bluie--is joined here by several survivors of the original string-band era on a wide variety of vocal and instrumental material. The selections range from the original Louie Bluie 78 r.p.m. record Armstrong and guitarist Ted Bogan cut more than 50 years ago to a European folk tune that Armstrong sings in “cotton-field Polish.” “When He Calls Me I Will Answer” is down-home gospel, while “Railroad Blues” rocks out in a manner that wouldn’t put off a Blasters fan.

Armstrong’s spirited violin and mandolin playing is one highlight, but his collaborators are no slouches. Bogan sings “That’ll Never Happen No More” with the appropriate touch of melancholy. “Banjo” Ikey Robinson contributes the jazzy “My Four Reasons” and a version of “Darktown Strutter’s Ball” that features an X-rated final verse.

If the sprightly verve of the music isn’t a sufficient lure, the album cover features a portrait of Armstrong by underground comic pioneer R. Crumb.