His four titles issued on the Gennett and Champion labels have been seen as stylistically similar to White blues artists such as Dick Justice and Frank Hutchison, and therefore reissued on anthologies of early White country music by County Records and Arhoolie. However, he was included in an anthology of Black Ragtime Blues Guitar and likened stylistically in the sleeve notes by Paul Oliver to Black blues musicians of the Northern Piedmont. Later reissues have been in collections which are neither exclusively Country nor exclusively Blues. Rose is known to have accompanied 1930 Gennett recordings of the Black artists Clara Burston, Walter Coleman and (possibly) Cow Cow Davenport. For this reason he is included in the comprehensive pre-1943 Blues and Gospel discography, and excluded from the comprehensive pre-1943 Country Music discography. However, research published by Christopher King in Issue # 12 of the journal 78 Quarterly suggests otherwise. In an interview, Mildred Justice, the daughter of Dick Justice recalled that her father played with a railway worker called Bailey Rose who she described as "quite a bit older than daddy". He was "the man who sounded the most like daddy" and taught her father how to play "Old Black Dog" and "Brown Gal". She twice asserted that Rose was not Black, but did describe him as dark-skinned and Arab looking. King suggests that he may have been a Melungeon.