Charles Keil examines the expressive role of blues bands and performers and stresses the intense interaction between performer and audience. Profiling bluesmen Bobby Bland and B. B. King, Keil argues that they are symbols for the black community, embodying important attitudes and roles—success, strong egos, and close ties to the community. While writing Urban Blues in the mid-1960s, Keil optimistically saw this cultural expression as contributing to the rising tide of raised political consciousness in Afro-America. His new Afterword examines black music in the context of capitalism and black culture in the context of worldwide trends toward diversification. "Enlightening. . . . [Keil] has given a provocative indication of the role of the blues singer as a focal point of ghetto community expression."—John S. Wilson, New York Times Book Review "A terribly valuable book and a powerful one. . . . Keil is an original thinker and . . . has offered us a major breakthrough."—Studs Terkel, Chicago Tribune "[Urban Blues] expresses authentic concern for people who are coming to realize that their past was . . . the source of meaningful cultural values."—Atlantic "An achievement of the first magnitude. . . . He opens our eyes and introduces a world of amazingly complex musical happening."—Robert Farris Thompson, Ethnomusicology "[Keil's] vigorous, aggressive scholarship, lucid style and sparkling analysis stimulate the challenge. Valuable insights come from treating urban blues as artistic communication."—James A. Bonar, Boston Herald
Phoebe H. Cottingham and David T. Ellwood . Cambridge : Harvard University Press , 1989 . Wanker , Rodney . “ Maxwell Street , Sunday Morning . ” Chicago Reader ( October 1 , 1971 ) , 8 . Warner , Margaret Stockton .
Robben Ford's Urban Blues Guitar Revolution teaches you the rhythm and soloing language of authentic blues guitar, chord by chord, lick by lick, then takes you on a journey through increasingly more modern ideas.
I will try to work out the development from the Urban Blues as an Afro-American identification and its rise until the downfall and alienation for the ‘black’ audience.
Urban Rhythms Urban Blues: Life in the Big City
The most complete method for the modern blues guitarist. This book covers basic blues techniques, soloing over the I, IV, and V chords, and the differences between authentic blues soloing, blues-rock, funk, and jazz-oriented solos.
119 This loss of commitment might explain the abandonment of the " question of evil " in urban blues . In a typical nonthematic ( thematically fragmented ) country or early city blues , no single theme predominated , so that one or two ...
Originally released on the flip - side of B.B.'s 1960 hit “ Partin ' Time , ” “ Good Man Gone Bad ” makes its first appearance on CD here . B.B. , though , clearly remembered it because he featured it on his 1998 album , Blues on the ...
An incredible collection of 69 songs from 17 of the greatest "post-war" electric blues artists, including: Howlin' Wolf, Sonny Boy Williamson, Bo Diddley, Chuck Berry, John Lee Hooker, Willie Dixon, Little Walter Jacobs.
Select from the six choices below TWO that characterize rural or country blues only, THREE that characterize urban blues only, and ONE that characterizes both styles of music. International exposure and increased financial compensation ...
In documenting the transition from country blues to an emerging urban blues both Amiri Baraka and Charles Keil focus on male artists. For Baraka the classic women blues singers were pop-influenced and commercial.