More related to Spanish Fandango than Baptist Shout (I couldn't find a thread dedicated to the former, and they're one in the same, anyhow) is the following excerpt from the liner notes of Lena Hughes: Queen of the Flat-Top Guitar I just picked up (the 2013 reissue, sadly, not the famously-rare original edition):

The reigning monarch of the parlor guitar repertoire was The Spanish Fandango, first published in the 1810s and subsequently rearranged and republished throughout the century. Its popularity reached epidemic proportions, driving erudite professors to distraction, but finding friends in the farthest reaches of the mail-order companies. The Fandango utilized the tuning DGDGBD which, along with the attendant chord positions, went straight into and shaped the form of early blues. All the great bluesmen from Charley Patton to Muddy Waters have played in 'Spanish.'

Although producers in the first wave of recordings made of rural performers in the '20s were expressly not on the look out for parlor pieces, several got through the net - Bo Carter, Frank Hutchison, John Dillishaw, Sam McGee. The folk revival brought about more documentation showing that versions of parlor pieces, and the Fandango in particular, still survived -- Leadbelly, Mance Lipscomb, John Hurt, Elizabeth Cotten.

But Lena Hughes' versions are to my ears the closest we have to the sound of the actual peices as they would have been played as the tide was turning and the little guitar was about to be ousted from its comfortable surroundings by the more grandiose parlor organ.

The Spanish Fandango spawned a host of variants, many shamelessly similar.

I have linked the Lena Hughes recording previously up above