"bottleneck" because, like many country blues players, she slid a broken bottleneck along the strings to make chord changes. Reagon said that the bottleneck technique created a wailing sound and that her fingering created "a warbled tone". Molton fingered three to four strings at a time and played thirds and sevenths together, producing what Reagon called "a chordal wail with a buzz effect, a quality present in traditional African music." Ethnomusicologist Mark Puryear said that Molton's songs did not correspond to a typical harmonic blues progression. He said that her guitar playing was "in the service of her singing and the song's primary message." Wiggins said that Molton's unique approach to rhythm and structure made him a better listener. "She didn't really make chord changes so much as much as implied chord changes," Wiggins said. "So the main way to keep track of where she was musically and rhythmically was to follow her voice." Blues guitarist Eleanor Ellis recalled some confusion when she began accompanying Molton. "I was playing and, all of a sudden, I realized we weren't in the same place in the song," Ellis said. "That taught me a real good lesson that the singer is the one to pay attention to." Personal life After her first husband, Haywood Bruce, left her around 1930, Molton filed for divorce. Her second husband, Walter Molton, died in the 1970s. She had four children: Bishop William H. Bruce, Johnny Bruce, Sarah Bruce and Doris Anderson. She also had numerous grandchildren and great grandchildren. Molton owned a car. Commenting on Molton's independence in spite of her vision problems, Phil Wiggins described her as "nobody's victim". In the 1950s, Molton completed a job training program with LightHouse for the Blind, and she tried to find employment outside of street singing. She found a temporary job through Goodwill, but the permanent worker returned shortly thereafter. She received assurances of jobs from other social programs, but no jobs materialized. "You see, I got so many promises," she said in 1974. "I just got disgusted. I just took the street for mine ... but work, no. If it hadn't been for the street, I would have been dead." A short documentary film about Molton, Spirit and Truth Music, was made by Edward Tim Lewis of Howard University. She was also featured in the documentary Blues Houseparty (1989), produced by Eleanor Ellis. Molton is one of eight