The string-band ensemble sound suited street performance as well, whether in Memphis or in Chicago's open-air Maxwell Street Market, where Young and his cronies were brought in off the streets to record.
Over the years, Young's mandolin activity declined as Chicago's African-American blues audience demanded a more modern and urban sound. Since Young was also a skilled guitarist and a fine vocalist, he easily weathered the transition.
During the late '60s, an emerging White blues-revival audience proved eager for Young's mandolin styling. Unlike Yank Rachell, whose mandolin playing retained an older string-band feel, Young's style was firmly grounded in a more contemporary postwar blues idiom, and he interacted well with other electric blues artists.
Through his life, he had worked with the major figures of blues history, including Sonny Boy Williamson, Muddy Waters, Walter Horton, and Otis Spann. He was, he insisted, born to be a musician.