Blues is rooted music. Like Charley Patton’s Boll Weevil Blues, it’s often about historical hardship. One kind of hardship memorialized by The Blues is flooding. Speaking of the flood of 1927, The Wall Street Journal explains:
Through an outpouring of deeply personal songs, Delta musicians liberated themselves in creative ways, if not yet in everyday life. Some of the growth of the blues, no doubt, was inspired by advances in recording technology, but much about what inspired the Delta blues we owe to high water. This really was a moment when a group of regional artists responded to the stress of a particular crisis, internalized it in terms of their own oppressive human predicament, and turned it all into something meaningful. The catastrophe was a dramatic occasion that helped Mississippi blacks and their listeners to take notice of intense and revealing individual expressions of emotion with a music as spare and yet dynamic in its possibilities as the Delta landscape. There was blues before the flood, but after the flood, blues was produced with a vengeance.
Or, as Big Bill Broonzy sings in Southern Flood Blues:
Early early one morning water was comin’ in my door
Early one morning water was comin’ in my door
It was the old high river tellin’ us to get ready and go
It was dark and it was rainin’ you could hear that howlin’ wind
It was dark and it was rainin’ baby you could hear that howlin’ wind
If I get away this time I will never come here again
For a little bit of Diva Blues, there’s the famous Backwater Blues by Bessie Smith.
Then there’s Charley Patton with High Water Everywhere.
You might be interested in a Bob Dylan tribute to Patton’s song.
Then, for some rip-roarin’ guitar work: Stevie Ray Vaughan’s Texas Flood .