Beginning one’s recording career as half of a duo presents a number of potential problems. Firstly, folks are gonna always wonder where your other half is even if you make it out from under that shadow of whatever group. Secondly, the material recorded subsequent to leaving the tandem might not rightfully live up to expectations making folks all the more critical – and it could then even impact the popularity of the duo if ever reformed. That’s alotta weight to carry around. But music should be just music and not a business. That’s a beautiful sentiment, but not too realistic.

Regardless, Frank Stokes who began as one half of the Beale Street Sheiks alongside Dan Sane, eventually struck out on his own. But prior to that, the Sheiks busked in and around Memphis playing parks and the like. Eventually, the duo gained enough of renown that they began playing proper parties and bars. The gigs never earned the team a great deal of money, but it did affect the way in which Stokes performed. Using as much rag time jauntiness as blues, Stokes’ music was primed for dancing – kinda like the ole Rev. Gary. But on top of the nonstop bounce of Stokes’ guitar, playing outdoors toughened up his voice making it louder than need be and sounding pretty decent on some sides he cut for Victor Records towards the end of the ‘20s.

After recording with the Sheiks, the Victor Records folks returned a few years later to find Stokes continuing on, working under his own name. He was still occasionally joined by Sane or a gentleman named Will Bats on fiddle. Performing a combination of work songs, dance tunes, rags and pre-blues blues found Stokes becoming an archaic figure by the time some of his later sides were set down. Players had begun moving to cities, affecting barrelhouse styles, including a bit more of a rugged feel while Stokes maintained a bucolic song book. Of course, some of the subject matter he touched upon never fell out of favor – “I Got Mine” and “'Tain't Nobody's Business If I Do” amongst a few others. But the industry was amidst a change and country styled backing didn’t always sit well with folks that believed themselves to be erudite to some degree.

Perhaps because of that situation, Stokes eventually found himself in the employ of various minstrel shows and even Ringling Brothers for a time. Due to his touring during this era, some have speculated on his impacting the nascent career of country players like Jimmy Rodgers. There can’t be any hard evidence proffered, but in listening to Rodgers play guitar and sing, no one can deny the influence of southern blues.

A surprisingly strong performer – all around – Stokes may have missed being the star that Charlie Patton or Robert Johnson was based solely upon his professionalism. Learning all facets of the industry on the road should have been beneficial, but in the end, Stokes didn’t wind up making it to the next generation of listeners and players even if a few of his songs have been enshrined in the American song book.