I love music and books about the music industry. Fiction or nonfiction–the drama of a musician’s rise and efforts to sustain a career never gets old to me. I can relate to their determination to make a living doing something they love. Also, as a resident of Memphis, Tennessee, I’m fascinated by the musical history here and often meet people that had ties to the music industry and are now “regular people.” My latest novel Intermissionis about a singing group. I’ve read numerous books in this genre, from Motown bios to the five listed. What a great way to combine my two favorite things–music and books!
This is the biography of blues legend and multiple Grammy winner Bobby Rush. He grew up in Arkansas and was not an overnight success. Blues and R&B fans will appreciate the stories he tells about well-known musicians and life on the road.
His is not a hard luck story, although it is about hard work, including how he supported his family when music wasn’t paying the bills. Great to hear from someone who lived to tell the story. I am glad he is finally getting his just rewards.
This memoir charts the extraordinary rise to fame of living blues legend, Bobby Rush. Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. As a teenager, Rush acquired his first real guitar and started playing in juke joints in Little Rock, Arkansas, donning a fake mustache to trick club owners into thinking he was old enough to gain entry into their establishments. During the mid-1950s, Rush relocated to Chicago to pursue his musical career. It was there that he started to work with Earl Hooker, Luther Allison,…
Over many years of being an African American fan of rock music, I’ve learned that the combination of my gender, race, and musical taste can be disconcerting to people who expect Black women to adhere to a limited set of cultural interests. My frustration with these kinds of assumptions, my awareness that rock has deep roots in African American musical culture, my curiosity about the experiences of African American women who participated in rock and roll, and my desire to make sure that they are part of the stories we tell about the music’s history led me to write Black Diamond Queens: African American Women and Rock and Roll.
Iconic feminist, philosopher, and activist Angela Y. Davis put African American women at the center of the story of the blues, expanding our understanding of a genre usually presented as the purview of male artists. Discussing the music and careers of 1920s blues superstars Ma Rainey and Bessie Smith and 1930s jazz vocalist Billie Holiday, who was deeply influenced by the blues, Davis approaches the blues as music innovated, popularized, and consumed by African American women. She pays close attention to the impact of gender, race, and class on artists and audiences, and shows how these artists and their fans used blues music as entertainment, self-expression, social commentary, political critique, resistance, and survival.
From one of this country's most important intellectuals comes a brilliant analysis of the blues tradition that examines the careers of three crucial black women blues singers through a feminist lens. Angela Davis provides the historical, social, and political contexts with which to reinterpret the performances and lyrics of Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday as powerful articulations of an alternative consciousness profoundly at odds with mainstream American culture.
The works of Rainey, Smith, and Holiday have been largely misunderstood by critics. Overlooked, Davis shows, has been the way their candor and bravado laid the groundwork for an…
Call me contrarian, but when most of my school friends were into Bowie, Zeppelin, and Genesis, I was saving up for Muddy Waters’ Greatest Hits and discovering how a single note from Albert King’s guitar could send chills down your spine. The music inspired me to spend a summer in Chicago in 1979, aged 20, and I went back in 1982. It took me 30-odd years to get round to writing it, but this book is the result of those adventures, when a guileless British youth found himself welcomed into the noisy, friendly, creative, chaotic, nurturing, and overwhelmingly black world of the Chicago blues, a long time ago.
It began as a master’s thesis in the early Sixties, when the blues was still (just) alive and evolving, and still celebrated by its traditional black audiences. By the time the book was published in 1966, however, white fans had ‘discovered’ the music, and everything was changing. Pounding, repetitive tunes of the kind written by Willie Dixon at Chess and popularised by English R&B bands, became the canon. The blues, with a new rock audience unaware of its rich variety and deep hinterland, was reduced to a single rather tedious idea. It didn’t have to be like this. It’s not the fault of those white R&B bands, but if they had been less fixated on Chicago and opened themselves up to influences from Detroit, say, and Memphis, we might now be living in a different musical world. Keil provides a glimpse of it.
Keil's classic account of blues and its artists is both a guide to the development of the music and a powerful study of the blues as an expressive form in and for African American life. This updated edition explores the place of the blues in artistic, social, political, and commercial life since the 1960s. "An achievement of the first magnitude...He opens our eyes and introduces a world of amazingly complex musical happening."--Robert Farris Thompson, Ethnomusicology
I’ve been a working blues musician for almost half a century, a blues harmonica teacher for much of that time. Twenty-five years ago I first began offering university-level courses on the blues literary tradition. My experience as a Harlem busker back in the 1980s and a touring performer in the 1990s as part of the duo Satan & Adam critically shaped my approach, anchoring me in the wisdom, humor, and deep-groove aesthetics of partner, Mississippi native Sterling “Mr. Satan” Magee. The blues is or the blues are? It’s complicated! I try to honor that multiplicity and the people who put it there.
Wald is a contrarian’s contrarian; this revisionist study--lucid, sensible, self-assured--demolishes not just the soul-selling-at-the-crossroads mythology embraced by fans of Robert Johnson, but a series of romantic misconceptions about blues music in general and Mississippi blues in particular.
He reminds us, for example, that classic blueswomen like Ma Raney and Bessie Smith were the first stars of the blues; that Johnson was, by contrast, virtually unknown on a national level during his own lifetime; and that Johnson, celebrated by his mythologizers as a devil-haunted innovator, was actually a savvy, record-copying consolidator of a broad range of contemporary blues styles.
He was also a “polka hound” and human jukebox, according to Wald, a jack-of-all-trades who played Gene Autry songs and other pop tunes for the pleasure of his audiences, black and white.
The life of blues legend Robert Johnson becomes the centerpiece for this innovative look at what many consider to be America's deepest and most influential music genre. Pivotal are the questions surrounding why Johnson was ignored by the core black audience of his time yet now celebrated as the greatest figure in blues history. Trying to separate myth from reality, biographer Elijah Wald studies the blues from the inside -- not only examining recordings but also the recollections of the musicians themselves, the African-American press, as well as examining original research. What emerges is a new appreciation for the blues…
There is a reason we hail B.B. King as the King of the Blues. King is a cultural icon of immeasurable influence that extends far beyond the blues. De Vise tracks King's journey in great detail, from his Mississippi sharecropper upbringing, to his rise to fame among Black audiences, to breaking through with white audiences in the late 1960s, and ultimately achieving legendary status. An outstanding read, that gave me new insight into one of the 20th century's greats.
The first full and authoritative biography of an American—indeed a world-wide—musical and cultural legend
“No one worked harder than B.B. No one inspired more up-and-coming artists. No one did more to spread the gospel of the blues.”—President Barack Obama
“He is without a doubt the most important artist the blues has ever produced.”—Eric Clapton
Riley “Blues Boy” King (1925-2015) was born into deep poverty in Jim Crow Mississippi. Wrenched away from his sharecropper father, B.B. lost his mother at age ten, leaving him more or less alone. Music became his emancipation from exhausting toil in the fields. Inspired by a…
As the Director of the Center for Texas Music History at Texas State University, I’m excited to stay on top of all that’s being done in the field of Texas Music and let me assure you that it is a great way to spend one’s days. Texas music and culture reflect the state’s diverse and contested past, and every month, it seems that there is not only a new artist appearing on the stage to sing her or his truth but a writer helping us to understand how those truths fit into the larger narratives of Texas history.
Lead Belly is a ghost that haunts all of American music. His voice is at the center of Bob Dylan’s folk revival as much as it is behind the Beatles’ British Invasion. When Nirvana made their final live recording, they closed with a Lead Belly tune, Kurt proclaiming that Lead Belly was his favorite artist. And yet, when most people talk about Lead Belly, they are repeating lore propagated by a small group of white folklorists and gatekeepers rather than seeing Lead Belly—that is, Huddie Ledbetter—as a full historical individual with agency in his own story.
In this deeply researched account, Curran corrects the record. I was riveted by her ability to re-center Ledbetter and draw a complex portrait of the man while also placing him within the wider context of racial exclusions and white supremacy in the midcentury music industry and academy. Much of the world’s popular and vernacular…
Known worldwide as Lead Belly, Huddie Ledbetter (1889-1949) is an American icon whose influence on modern music was tremendous - as was, according to legend, the temper that landed him in two of the South's most brutal prisons, while his immense talent twice won him pardons. But, as this deeply researched book shows, these stories were shaped by the white folklorists who 'discovered' Lead Belly and, along with reporters, recording executives, and radio and film producers, introduced him to audiences beyond the South. Through a revelatory examination of arrest, trial, and prison records; sharecropping reports; oral histories; newspaper articles; and…
As a gay writer who has navigated some difficult life changes of my own, including cancer, a gay bashing, and the death of an early love, I always enjoy finding writers whose gay characters must deal with their own challenging life issues. Whether it's a coming-of-age tale, a puzzling mystery, or a suspenseful fantasy, each character comes to terms with accepting who he is in an often hostile world.
Suspenseful, well-written fantasy of other worlds and realms that kept me turning the pages and held my interest until the very end. Yes, it's about vampires, but vampires who subsist on talent, not blood. And it's a story of two mortal enemies who find they must now work together.
Unlike their Blood Brethren, Warner and Seth are vampires who subsist on talent. They have been enemies for centuries, competing to feed on artists with the most prodigious musical gifts, and country blues singer Wade Dixon is no exception. But the pursuit and capture of Dixon unleashes unexpected forces that carry these combatants from the earthly realm to a dangerous land of eternal night where they must work together or die alone.
Jerry L. Wheeler is the editor of seven anthologies of gay erotica for Bold Strokes Books, Wilde City Press, and other publishers. His own collection of short fiction…
I’ve been a working blues musician for almost half a century, a blues harmonica teacher for much of that time. Twenty-five years ago I first began offering university-level courses on the blues literary tradition. My experience as a Harlem busker back in the 1980s and a touring performer in the 1990s as part of the duo Satan & Adam critically shaped my approach, anchoring me in the wisdom, humor, and deep-groove aesthetics of partner, Mississippi native Sterling “Mr. Satan” Magee. The blues is or the blues are? It’s complicated! I try to honor that multiplicity and the people who put it there.
A precise, thoughtful, and unromantic blues scholar, Barry Lee Pearson was also a friend of, and occasional booking agent for, DC-area acoustic blues legends like John Jackson and Cephas & Wiggins.
Jook Right On, which I was delighted to blurb and use in my own teaching, offers a series of compact autobiographical testimonies—“blues stories”—on a wide range of topics from a wide range of blues people.
“Wordsmiths by trade,” Pearson writes in his brilliantly incisive introduction, “these storytellers bring to their tales qualities also found in blues musical performance and philosophical perspectives characteristic of the blues tradition such as improvisation, ironic humor, ambivalence, and a life-affirming sense of hope in the face of adversity.”
Constitutionally immune to cliches, Pearson brings you closer to the blues musician’s perspective than any writer I know.
“Pearson has collected a gold mine of compelling tales, organized them with convincing logic, and introduced them with the kind of penetrating insight and professional modesty that any blues scholar might do well to emulate. This is a terrific book—one I know I’ll use in my own teaching.” —Adam Gussow, author of Seems Like Murder Here: Southern Violence and the Blues TraditionJook Right On: Blues Stories and Blues Storytellers is what author and compiler Barry Lee Pearson calls a “blues quilt.” These blues stories, collected by Pearson for thirty years, are told in the blues musicians’ own words. The author…
I’ve been a fan of the Cthulhu Mythos and detective fiction since childhood, cutting my teeth on Sir Arthur Conan Doyle, Raymond Chandler, and Dashiell Hammett at an early age. A voracious reader of both horror and mystery, I read and reread these tales and began crafting my own to the point where many years later, as an award-winning writer with over 200 fiction publications under my belt, I feel these genres go together like they were always destined to cross. I write daily, and have a Bachelor’s Degree in Crime Scene Science. You could say crime and horror are always on my mind!
This debut novel is a delight to read for it not only blends detective fiction with Lovecraftian horror, it also weaves a spell filled with the Blues scene and the Southern gothic genre. An intriguing tale from start to finish, it features a war veteran turned detective hired to find missing a blues man. It takes place in the Jim Crow south of 1951, these times being a horror unto themselves. Rich with atmosphere and mystery, the scenes the author depicts are something else entirely.
Nominated for the Bram Stoker Award for Superior Achievement in a First Novel Recent World War II veteran Bull Ingram is working as muscle when a Memphis DJ hires him to find Ramblin' John Hastur. The mysterious blues man's dark, driving music - broadcast at ever-shifting frequencies by a phantom radio station - is said to make living men insane and dead men rise. Disturbed and enraged by the bootleg recording the DJ plays for him, Ingram follows Hastur's trail into the strange, uncivilized backwoods of Arkansas, where he hears rumors the musician has sold his soul to the Devil.…
Over many years of being an African American fan of rock music, I’ve learned that the combination of my gender, race, and musical taste can be disconcerting to people who expect Black women to adhere to a limited set of cultural interests. My frustration with these kinds of assumptions, my awareness that rock has deep roots in African American musical culture, my curiosity about the experiences of African American women who participated in rock and roll, and my desire to make sure that they are part of the stories we tell about the music’s history led me to write Black Diamond Queens: African American Women and Rock and Roll.
When Wald published her thoroughly researched and sensitively written biography of Tharpe, few people outside the world of gospel were familiar with the guitarist and singer or her significant contribution to twentieth-century music. Wald traces Tharpe’s years as an acoustic guitar-playing traveling teenage gospel evangelist, her role as one of the first stars of the fledgling genre of gospel in the 1930s and 1940s, her controversial decision to play gospel music in nightclubs, and her influence as a flashy virtuoso whose intricate licks on the electric guitar inspired musicians in country, rock and roll, and beyond. A well-told story of a fascinating woman, Shout, Sister, Shout! establishes Tharpe as a key figure in the evolution of twentieth-century popular music.
New York Times Book Review Editor's Pick: The untold story of Rock and Roll Hall of Fame inductee Sister Rosetta Tharpe, America’s first rock guitar diva
Long before "women in rock" became a media catchphrase, African American guitar virtuoso Rosetta Tharpe proved in spectacular fashion that women could rock. Born in Cotton Plant, Arkansas, in 1915, Tharpe was gospel's first superstar and the preeminent crossover figure of its golden age (1945–1965).
Shout, Sister, Shout! is the first biography of this trailblazing performer who influenced scores of popular musicians—from Elvis Presley and Little Richard to Eric Clapton and Etta James. Tharpe…
