IN: Namdev, also transliterated as Namdeo and Namadeva, (traditionally, c. 1270 - c. 1350) was a poet-saint from Maharashtra, India who is significant to the Varkari sect of Hinduism. He is also venerated in Sikhism, as well as Hindu warrior-ascetic traditions such as the Dadupanthis and the Niranjani Sampraday that emerged in north India during the Islamic rule. The details of Namdev's life are unclear. He is the subject of many miracle-filled hagiographies composed centuries after he died.

The literary works of Namdev were influenced by Vaishnava philosophy and a belief in Vithoba. Along with the Jnanesvari, a sacred work of Jnanesvar, and of Bhakti movement teacher-writers such as Tukaram, the writings of Namdev form the basis of the beliefs held by the Varkari sect of Hinduism. He was thus among those responsible for disseminating the monotheistic Varkari faith that had emerged first in Karnataka in the mid-to-late 12th century and then spread to Pandharpur in Maharashtra.  Namdev and Jnanesvar used the Marathi language to convey their beliefs rather than using the traditional Sanskrit language that was essentially a buttress for the pre-eminence of the Brahmin priests. Namdev's style was to compose simply worded praise for Vithoba and to use a melodic device called samkirtana, both of which were accessible to common people. Shima Iwao says that "He taught that all can be saved equally, without regard to caste, through devotion (bhakti) to Vithoba" and that he greatly influenced groups of people who were forbidden by the Brahmin elite from studying the Vedas, such as women and members of the Shudra and untouchable communities.  The earliest anthological record of Namdev's works occurs in the Guru Granth Sahib, the Sikh scriptures compiled in 1604, although Novetzke notes that while the manuscript records of Namdev mostly date from the 17th and 18th centuries, there exists a manuscript from 1581 that presents a rarely recounted variant version of Namdev's Tirthavli, a Marathi-language autobiographical piece. It is evident that the Guru Granth record is an accurate rendition of what Namdev wrote: the oral tradition probably accounts significantly for the changes and additions that appear to have been made by that time. The numerous subsequently produced manuscripts also show variant texts and additions that are attributed to him. Of around 2500 abhangs that were credited to him and written in the Marathi language, perhaps only 600 - 700 are authentic. The surviving manuscripts are geographically dispersed and of uncertain provenance.
QUESTION: Did anything else come out of Namdev's teachings?
IN: Muddy Waters' birthplace and date are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but it is believed to be more likely that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.

Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready".  Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time.  During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.
QUESTION:
What other albums did they have?