National brand guitar = one with a metal resonator plate, often used by blues players especially those of the 1920s-30s. These guitars were designed to be LOUD, back in the days shortly before electric amplification firt appeared. The body (soundbox) of some models is metal, but National made 'em with wood bodies as well. The resonator guitar sound is instantly recognizable as "bluesy."

If you missed the PBS television series on "The Blues," see if you can rent it. I know that various people have their criticisms of this or that episode, and the series is of course not perfect, but it does provide a lot of great material and (most importantly) a very broad overview of the many varieties of the blues. Renting and watching these videos would probably be cheaper and easier than compiling a collection of blues CDs from square one.

If you're not yet familiar with the music of Mississippi John Hurt, I'd recommend that you look into him. Although John lived in the Mississippi Delta, his style is all his own and not much like that of other "Delta Blues" players; indeed, some would say that it isn't blues at all, but is more properly classified as "folk." Blues or not, it's so unique and so sweet that you ought to give a listen. Much of MJH's appeal has to do with his mastery of guitar fingerpicking, which might not interest a non-intrumentalist; however, the true basis of his appeal is his basic good nature and his storytelling skill, which you probaly *would* recognize and enjoy.

Another completely different personal recommendation, my favorite Chicago-style electric blues recording of all: "Buddy Guy: A Man and the Blues," recorded in the late 60s on Vanguard and still available as a Vanguard CD. Buddy was a member of Junior Wells' band at the time, and put together a group for this solo album featuring pianist Otis Spann, longtime member of the Muddy Waters band. The album is an extended duet featuring Buddy (guitar and vocal) and Otis (piano), with bass and drums in the background and a horn section adding a bit of flavor. A great example of how you can be slow and lyrical at the same time that you're playing loud and electric.