Barbecue Bob secured his first recording date when he was 16, as a member of their group the Georgia Cotton Pickers, on December 7, 1930 at the Campbell Hotel in Atlanta, cutting four songs for Columbia: "I'm on My Way Down Home," "Diddle-Da-Diddle," "She Looks So Good," and "She's Comin' Back Some Cold Rainy Day." The group that day consisted of Barbecue Bob and Weaver on guitars and Moss on harmonica. Moss did not record anything more for the next three years. By 1933, Moss had taught himself the guitar. He frequently played with Barbecue Bob until Bob's death of pneumonia on October 21, 1931. Moss found a new partner and associate in Blind Willie McTell, performing with him at parties around Atlanta. In January 1933, he made his debut as a recording artist in his own right for the American Record Company (ARC) in New York City, accompanied by Fred McMullen and Curley Weaver, cutting three songs, "Bye Bye Mama," "Daddy Don't Care," and "Red River Blues." Another eight songs followed over the next three days, and all 11 were released, more than were released for McMullen or Weaver from those same sessions. The debut sessions also featured Moss returning to the harmonica, as a member of the Georgia Browns – which comprised Moss, Weaver, McMullen and the singer Ruth Willis – for six songs done at the same sessions. Moss's records were released simultaneously on various budget labels associated with ARC and were so successful that, in mid-September 1933, he returned New York City along with Weaver and McTell. Moss recorded another dozen songs for the company, this time accompanied by Weaver; he also accompanied Weaver and McTell on their numbers. In mid-1934, this time as a solo guitarist and singer, he recorded more tracks. At this point, Moss's records were outselling those of Weaver and McTell and were widely heard in the southern and border states. His "Oh Lordy Mama" from these sessions became well known as "Hey Lawdy Mama", a song interpreted by various artists. AllMusic noted that "This body of recordings also best represents the bridge that Moss provided between Blind Blake and Blind Boy Fuller – his solo version of "Some Lonesome Day" and also "Dough Rollin' Papa," from 1934, advanced ideas in playing and singing that Fuller picked up and adapted to his own style, while the lingering influence of Blake can be