In his memoir, O. G. Fillmore Slim breaks down how he went from being the most prolific pimp in America, the legendary gentleman Mack, to an eminent blues musician later in life. Known as The Godfather and Pope of the Game, Slim leads his prostitution operation with charisma, kindness, and charm turning out more than ten thousand women in over thirty years in the game. He preaches the ethics of safe sex and nonviolence. "I pimped with my brain, not with my fists." His gentlemanly approach promotes his highly lucrative business, and in the eyes of many, gives him a highly celebrated and revered reputation in urban street culture. But when Slim emerges from his longest stint in prison-five years-he leaves the pimping life behind and transforms himself into a famous blues musician, which was his original dream. Despite the odds, his stardom soars and he goes on to perform with an array of famous musicians, from B. B. King to Ike and Tina Turner, touring America, Europe, Russia, and beyond. Slim explains how his two worlds-the streets and the entertainment industry-are much more linked than the average person would guess as he tells the unbelievable story of his life.

Making it in Hell, says Bruce Jackson, is the spirit behind the sixty-five work songs gathered in this eloquent dispatch from a brutal era of prison life in the Deep South. Through engagingly documented song arrangements and profiles of their singers, Jackson shows how such pieces as "Hammer Ring," "Ration Blues," "Yellow Gal," and "Jody's Got My Wife and Gone" are like no other folk music forms: they are distinctly African in heritage, diminished in power and meaning outside their prison context, and used exclusively by black convicts. The songs helped workers through the rigors of cane cutting, logging, and cotton picking. Perhaps most important, they helped resolve the men's hopes and longings and allowed them a subtle outlet for grievances they could never voice when face-to-face with their jailers.

The familiar story of Delta blues musician Robert Johnson, who sold his soul to the devil at a Mississippi crossroads in exchange for guitar virtuosity, and the violent stereotypes evoked by legendary blues "bad men" like Stagger Lee undergird the persistent racial myths surrounding "authentic" blues expression. Fictional Blues unpacks the figure of the American blues performer, moving from early singers such as Ma Rainey and Big Mama Thornton to contemporary musicians such as Amy Winehouse, Rhiannon Giddens, and Jack White to reveal that blues makers have long used their songs, performances, interviews, and writings to invent personas that resist racial, social, economic, and gendered oppression. Using examples of fictional and real-life blues artists culled from popular music and literary works from writers such as Walter Mosley, Alice Walker, and Sherman Alexie, Kimberly Mack demonstrates that the stories blues musicians construct about their lives (however factually slippery) are inextricably linked to the "primary story" of the narrative blues tradition, in which autobiography fuels musicians' reclamation of power and agency.

From October 1959 until the mid-1970s, Paul Oliver and Mack McCormick collaborated on what they hoped to be a definitive history and analysis of the blues in Texas. Both were prominent scholars and researchers—Oliver had already established an impressive record of publications, and McCormick was building a sprawling collection of primary materials that included field recordings and interviews with blues musicians from all over Texas and the greater South. Despite being eagerly awaited by blues fans, folklorists, historians, and ethnomusicologists who knew about the Oliver-McCormick collaboration, the intended manuscript was never completed. In 1996, Alan Govenar, a respected writer, folklorist, photographer, and filmmaker, began a conversation with Oliver about the unfinished book on Texas blues. Subsequently, Oliver invited Govenar to assist him, and when Oliver became ill, Govenar enlisted folklorist and ethnomusicologist Kip Lornell to help him contextualize and document the existing manuscript for publication. The Blues Come to Texas: Paul Oliver and Mack McCormick’s Unfinished Book presents an unparalleled view into the minds and methods of two pioneering blues scholars.

Based on scores of interviews with the artist's relatives, friends, lovers, producers, accompanists, managers, and fans, this brilliant biography reveals a man of many layers and contradictions. Following the journey of a musician who left his family's poor cotton farm at age eight carrying only a guitar, the book chronicles his life on the open road playing blues music and doing odd jobs. It debunks the myths surrounding his meetings with Blind Lemon Jefferson and Texas Alexander, his time on a chain gang, his relationships with women, and his lifelong appetite for gambling and drinking. This volume also discusses his hard-to-read personality; whether playing for black audiences in Houston's Third Ward, for white crowds at the Matrix in San Francisco, or in the concert halls of Europe, Sam Hopkins was a musician who poured out his feelings in his songs and knew how to endear himself to his audience--yet it was hard to tell if he was truly sincere, and he appeared to trust no one. Finally, this book moves beyond exploring his personal life and details his entire musical career, from his first recording session in 1946--when he was dubbed Lightnin'--to his appearance on the national charts and his rediscovery by Mack McCormick and Sam Charters in 1959, when his popularity had begun to wane and a second career emerged, playing to white audiences rather than black ones. Overall, this narrative tells the story of an important blues musician who became immensely successful by singing with a searing emotive power about his country roots and the injustices that informed the civil rights era.

Winner, Best History, 2012 Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound Research When Mississippi John Hurt (1892-1966) was "rediscovered" by blues revivalists in 1963, his musicianship and recordings transformed popular notions of prewar country blues. At seventy-one he moved to Washington, D.C., from Avalon, Mississippi, and became a live-wire connection to a powerful, authentic past. His intricate and lively style made him the most sought after musician among the many talents the revival brought to light. Mississippi John Hurt provides this legendary creator's life story for the first time. Biographer Philip Ratcliffe traces Hurt's roots to the moment his mother Mary Jane McCain and his father Isom Hurt were freed from slavery. Anecdotes from Hurt's childhood and teenage years include the destiny-making moment when his mother purchased his first guitar for $1.50 when he was only nine years old. Stories from his neighbors and friends, from both of his wives, and from his extended family round out the community picture of Avalon. US census records, Hurt's first marriage record in 1916, images of his first autographed LP record, and excerpts from personal letters written in his own hand provide treasures for fans. Ratcliffe details Hurt's musical influences and the origins of his style and repertoire. The author also relates numerous stories from the time of his success, drawing on published sources and many hours of interviews with people who knew Hurt well, including the late Jerry Ricks, Pat Sky, Stefan Grossman and Max Ochs, Dick Spottswood, and the late Mike Stewart. In addition, some of the last photographs taken of the legendary musician are featured for the first time in Mississippi John Hurt.

* This novel was originally published as Mojo's Guitar. “Ran Walker's The Last Bluesman plays an authentic Blues song on the page, filled with all the sorrow, heartache, and beauty that entails. This layered, haunting book is worth listening to.” ~ Mat Johnson, author of Pym and Loving Day “Ran Walker brings the blues into the 21st century and shows us how we can never forget our roots as long as we keep the love in our hearts. Thank you, Ran, for picking up the guitar of fiction and fretting together characters of such warmth, depth, and humanity.” ~ Tyehimba Jess, Pulitzer Prize-winning author of Olio and Leadbelly “In The Last Bluesman, readers encounter a modern-day blues novel, complete with a forgotten musician and a historically disenfranchised past. Walker's clarity of style and smooth, mellifluous language render this effort one to be proud of. This work places him among the cadre of new black voices budding with fresh, ripe tales of a past and present yet to untold.” ~ Daniel Black, author of Perfect Peace and Twelve Gates to the City "The Last Bluesman is a Southern tale ripe with lust, regret, death. It epitomizes the blues. Read with a stiff drink in hand." ~ jewel bush, Founder of MelaNated Writers Collective (New Orleans, LA) “The Last Bluesman touches deep in the soul. The words jump off the page, and I feel like I'm right there with the characters of the story. And the Blues...it's ever so present and honest!” ~ Lamont Jack Pearley Talking Bout The Blues, NYC “The characters become so familiar, their conflicts so realistic, and their dilemmas and dreams so tangible, that as a reader you will feel as though you were in the Mississippi Delta along with them.” ~ Sabin Prentis, author of Compared to What and Better Left Unsaid A first-time novelist is assigned the task of interviewing a legendary bluesman for a magazine article. A fifteen-year-old boy struggles to make sense of his parents’ deaths by turning to blues music. An estranged son seeks answers for his father's absence. Discover how these lives are forever altered by their interactions with an all but forgotten bluesman named Morris “Mojo” Jones. With all of the color and flavor of the Mississippi Delta, The Last Bluesman is a rare glimpse into a world rarely explored in literary fiction.