Praised as "suave, soulful, ebullient" (Tom Waits) and "a meticulous researcher, a graceful writer, and a committed contrarian" (New York Times Book Review), Elijah Wald is one of the leading popular music critics of his generation. In The Blues, Wald surveys a genre at the heart of American culture. It is not an easy thing to pin down. As Howlin' Wolf once described it, "When you ain't got no money and can't pay your house rent and can't buy you no food, you've damn sure got the blues." It has been defined by lyrical structure, or as a progression of chords, or as a set of practices reflecting West African "tonal and rhythmic approaches," using a five-note "blues scale." Wald sees blues less as a style than as a broad musical tradition within a constantly evolving pop culture. He traces its roots in work and praise songs, and shows how it was transformed by such professional performers as W. C. Handy, who first popularized the blues a century ago. He follows its evolution from Ma Rainey and Bessie Smith through Bob Dylan and Jimi Hendrix; identifies the impact of rural field recordings of Blind Lemon Jefferson, Charley Patton and others; explores the role of blues in the development of both country music and jazz; and looks at the popular rhythm and blues trends of the 1940s and 1950s, from the uptown West Coast style of T-Bone Walker to the "down home" Chicago sound of Muddy Waters. Wald brings the story up to the present, touching on the effects of blues on American poetry, and its connection to modern styles such as rap. As with all of Oxford's Very Short Introductions, The Blues tells you--with insight, clarity, and wit--everything you need to know to understand this quintessentially American musical genre.
... Clara 127 , 509 , 510 , 585 , 644 , 657 , 662 , 673 , 674 Smith , Clarence 467 Smith , Eddie 235 Smith , Eugene 373 Smith , Francine 101 Smith , Funny Paper 510 Smith , G.E. 214 , 318 Smith , Gary 183,592 Smith , George Harmonica ...
Either prom, a costume party, or superhero training. As they journeyed out of the mountain toward the training arena, the two women chitchatted about completely ordinary topics, like other mythicals of the island (including a half woman ...
The next, they would say they didn't like it. For five years, Foster listened and asked: "How?" "Why not?" "Will it ever change?" This is the story of the answers to his questions.
14 September 1981; Memphis, TN Country-blues singer, songster, and bottleneck slide guitar player. ... He sang and played guitar for both black and white audiences, at picnics, fish fries, dances, medicine shows, or on the street ...
Really the Blues—the jive-talking memoir that Mezzrow wrote at the insistence of, and with the help of, the novelist Bernard Wolfe—is the story of an unusual and unusually American life, and a portrait of a man who moved freely across ...
In turn, generations of artists claimed him as inspiration, from Jimi Hendrix and Eric Clapton to Carlos Santana and the Edge. King of the Blues presents the vibrant life and times of a trailblazing giant.
“They'd never get nothing near dance music but they would carry out a free idea of their own, playing something out of their head, especially if you had a good cornet and clarinet soloist who could play on top of the band.
Hughes was convinced that he had upped his poet's game, purged his voice of voyeurship, hewed closer to “Negro folk- song forms,” and been more faithful to the life struggles of the black people he wrote about. But black reviewers were ...
In addition, it provides for the learning guitarist fills, introductions, and turnarounds for the songs, as well as complete instrumental breaks for the majority of the blues presented in this collection.
Richard Crawford, Jazz Standards on Record, 1900–1942: A Core Repertory (Chicago: Center for Black Music Research, Columbia College Chicago, 1992), 10. 30. Joel Whitburn, Joel Whitburn's Pop Memories (1890–1954) (Menomonee Falls, Wisc.